BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

Murals in ancient Byzantic churches in Turkey and Italy insp ire Masha Trebukova to make non-figurative images of biblical stories like &lsquo\;In the beginning&rsquo\; and &lsquo\;Creation of man&rsquo\;. Since her childhood she is familiar with the Russian icons and paintings in the orthodox churches.
Six years ago she started making monoprints in th e carborundum technique. This way of printing is usefull for making monumen tal graphics with a unique character. She arranges the large sheets as if t hey are fresco&rsquo\;s. \; Coherent the large sheets form the interior of an temporary created space\, which reflects a spiritual and nomadic liv e. \;

DTEND:20140608 DTSTAMP:20140425T021620 DTSTART:20140510 GEO:52.4003833;4.89202 LOCATION:Nieuw Dakota\,Ms. van Riemsdijkweg 41 b \nAmsterdam\, 1033 RC SEQUENCE:0 SUMMARY:Creationn \, Masha Trebukova UID:333847 END:VEVENT BEGIN:VEVENT DTEND:20140510T180000 DTSTAMP:20140425T021620 DTSTART:20140510T140000 GEO:52.4003833;4.89202 LOCATION:Nieuw Dakota\,Ms. van Riemsdijkweg 41 b \nAmsterdam\, 1033 RC SEQUENCE:0 SUMMARY:Creationn \, Masha Trebukova UID:333848 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aerial Views \;is a colle ction of artistic projects that reflect on the impact of our socio-politica l environment on human behaviour and gestures. Investigations reveal unexpe cted enigmas resulting from situations of inequality\, tragedy\, persecutio n or impoverishment. Artistic works take the form of photographs\, installa tion and performance and explore situations from China\, Japan\, Nigeria an d India. Using universal symbolism and materials like rice and coal\, artis ts analyse and react to site-specific occurrences\, which reveal global rel evance.

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CLÁ\;UDIA CRISTÓ\;VÃ\;O Less than a thousand words (2011) Photography\, installation

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When Cristó\;vã\;o was asked to examine and restore damage d photographs rescued from the 2011 tsunami in Japan\, she uncovered much m ore than personal leftovers. Cristó\;vã\;o pieced together a ne w archive. She collected photographs\, which were officially discarded beca use of extensive damage\, and then re-photographed these &ldquo\;trashed&rd quo\; photographs in order to create new images. Images contain all the rag ged layers of colour\, plus the sand and the sea salt that will eventually make them perish. The new images contain a physical damage parallel to that of the lives they belonged to. The memories they contained disappear or mo rph into other meaning.

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KRISTIINA KOSKENTOLA Blackballing (2013) Installation of hand-rolled coal balls

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Pu lverized left-overs of a coal pile merged with (polluted) soil\, (polluted) water) and billiard cues of different lengths covered with coal dust form the fragile coal balls\, produced by residents of a migrant worker village in China. Balls are eventually used for heating. The expression &lsquo\;bla ckballing&rsquo\; refers to acts of social\, professional\, commercial or p olitical exclusion\, as in ostracization\, boycott\, negative vote or ballo t. The installation Blackballing suggests an imaginary game (that might be over or yet to start) and provokes multiple associations from transformatio n of the materiality to fields of relations such as marginality\, global (e nvironmental) politics\, economics and biology. Are there any winners in th is game?

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OTOBONG NKANGA Dolphin Estate (2008)

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Dolphin Estate documents the first pre-fabricated housing units built in the 1990&rsquo\;s in Lagos\, Nigeria. Nkanga lived in Lagos and co uld remember seeing this new construction being put up in a very fast pace\ , they were regarded as modern dream houses for the middle class. These kin ds of housing complexes\, which were sometimes given neo-American suburbia titles\, were most times adequately equipped with the essentials a home nee ds but as time passes by the facilities break down\, therefore the necessit y emerges to build extensions and additional structures in order to survive . The mechanisms and devices gradually added to the existing architecture e xposes multiples stories of a daily reality. Dolphin Estate has gradually f allen into a state of disrepair\, leaving the residents to take care for th eir daily needs such as water\, electricity and having to cope with floodin g problems. The photographs reveal the everyday influences in our environme nt and it&rsquo\;s constantly changing nature.

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MONAL I MEHER Riceville II (2007) Landscape installation and pe rformance. Performed at CBK Zuidoost\, Amsterdam.

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The site-specific ins tallation created by durational performance refers to the death ritual of t he artist&rsquo\;s origin. A growing landscape installation expands through performance and is a memory of ceremonial procedure relating to the cyclic al movement of end and renewal. The transitory structures were made with co oked rice\, sand and bricks on the spot where the area was under constructi on. Household utensils were used as moulds to form different shapes of cook ed rice in this construction together with materials from that site and jux taposed with the urban surrounding of modern architecture in Bijlmer\, a su burb of Amsterdam. Rice as basic food is known globally. The act of cooking rice outside on the open field with a primitive installation and organical ly built temporal structures is a significant contrast to the &lsquo\;civil ized&rsquo\; environment. Possible change or damage in the newly built stru cture due to traffic\, people or natural calamities during the performance was unavoidable. Transformations were organically adopted throughout the pe rformance by Meher as she persisted in her act of making territorial landsc ape.

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STEPHEN WILLATS Crossing the Line< /em> (2006)

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Since the early 1960&rsquo\;s Stephen Willats has been lead ing a critical examination of environments shaped by contemporary life and has initiated the representation of a social agenda in art practice. Willat s is one of the forerunners of conceptual art in Europe\, embracing cyberne tics\, computer technology\, semiotics and behavioural and social psycholog y in the furtherance of the element of interactivity which continues to be one of the key drivers in his work. This has inspired Willats to take his a rt practice directly into a range of environments that represent universall y familiar contemporary cultural icons such as the housing estate or the ur ban shopping street.

DTEND:20140524 DTSTAMP:20140425T021620 DTSTART:20140425 GEO:52.3601715;4.8918082 LOCATION:Lumen Travo\,Lijnbaansgracht 314 \nAmsterdam\, 1017WZ SEQUENCE:0 SUMMARY:Aerial Views\, Cláudia Cristóvão\, Kristiina Koskentola\, Otobong N kanga\, Monali Meher\, Stephen Willats UID:333596 END:VEVENT BEGIN:VEVENT DTEND:20140425T190000 DTSTAMP:20140425T021620 DTSTART:20140425T170000 GEO:52.3601715;4.8918082 LOCATION:Lumen Travo\,Lijnbaansgracht 314 \nAmsterdam\, 1017WZ SEQUENCE:0 SUMMARY:Aerial Views\, Cláudia Cristóvão\, Kristiina Koskentola\, Monali Me her\, Otobong Nkanga\, Stephen Willats UID:333597 END:VEVENT BEGIN:VEVENT DESCRIPTION:

During our Spring Show we will celebrate spring with the theme: Nature Calls.

Beautif ul works by young talented artists such as Natasja van der Meer\, Zuijderwi jk Vergouwe\, Anthon Beeke and Josephine de Saint Seine will be on display during this group exhibition. And for the first time in Amsterdam: the late st work of Sebiha Demir: The Boxer.

You&rsquo\;re very welcome t o celebrate Spring &\; Nature with us during this exhibition!

DTEND:20140518 DTSTAMP:20140425T021620 DTSTART:20140419 GEO:52.3771743;4.9389209 LOCATION:Galerie Rademakers\,KNSM laan 291 \nAmsterdam\, 1019 LE SEQUENCE:0 SUMMARY:Nature Calls\, Natasja van der Meer\, Zuijderwijk Vergouwe\, Anthon Beeke\, Josephine de Saint Seine UID:333595 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Priveekollektie is already eigh t years!
To celebrate this anniversary\, we would like to invite you to our group exhibition.

DTEND:20140613 DTSTAMP:20140425T021620 DTSTART:20140518 GEO:51.7336405;5.1386045 LOCATION:Priveekollektie Contemporary Art | Design\,Pelsestraat 13-15 \nHeu sden aan de Maas\, 5256 AT SEQUENCE:0 SUMMARY:Priveekollektie Celebrating 8 Years\, Kranen/Gille\, Ien Lucas\, Ch ristiane Richter\, Bob Waardenburg\, Marieke Schoonderbeek\, Roderick Vos\, Carolina Wilcke\, Reinier Bosch\, De Intuïtiefabriek UID:333594 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140608 DTSTAMP:20140425T021620 DTSTART:20140510 GEO:52.4003833;4.89202 LOCATION:Nieuw Dakota\,Ms. van Riemsdijkweg 41 b \nAmsterdam\, 1033 RC SEQUENCE:0 SUMMARY:Creation \, Masha Trebukova UID:333592 END:VEVENT BEGIN:VEVENT DTEND:20140510T160000 DTSTAMP:20140425T021620 DTSTART:20140510T140000 GEO:52.4003833;4.89202 LOCATION:Nieuw Dakota\,Ms. van Riemsdijkweg 41 b \nAmsterdam\, 1033 RC SEQUENCE:0 SUMMARY:Creation \, Masha Trebukova UID:333593 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140628 DTSTAMP:20140425T021620 DTSTART:20140522 GEO:52.3765087;4.9245217 LOCATION:Art Affairs\,Veemkade 354 \nAmsterdam\, 1019 HD SEQUENCE:0 SUMMARY:Cathédrales\, Laurence Aëgerter UID:333591 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Amalgam is a combination or mixture of diverse elements\, which will cre ate something different. Spanish artist Carlos Irijalba (Pamplona\, 1979) i s interested in the alchemistic qualities of amalgam and its opaque functio n and history on different territories. In his work he investigates the phy sical properties of a given terrain and uses the outcome as material in his practice. Amalgam as a modifiable substance is used in dentistry for denta l fillings\, as a substance for healing. Asphalt in landscape is an amalgam used for roads to cover up the natural layers of soil. This opaque mass se als the accumulative memory present in the soil\, which transforms the subs tance in a material to forget. A way of extracting memory is by drilling th e layers of soil as a timeline. In the exhibition this drilling is presente d in the insertion of bismuth alloy. This grayish-white metallic element sh ares a specific characteristic with water that in solid state (when it turn s into ice) floats on its liquid state.

The different appearances of matter are of interest to Ir ijalba. In the sense of how history is visible in matter and how you percei ve it. Mexican-American writer\, artist and philosopher Manuel DeLanda stat ed in New Materialism: Interviews &\; Cartographies (2012)\; &lsquo\ ;All objective entities (substances) are products of a historical process\, that is\, their identity is synthesized or produced as part of cosmologica l\, geological\, biological\, or social history&rsquo\;i>\;. In the exhibition the pieces of asphalt are perceived as a layer of human interven tion of geological history. The traces of Bismuth intervene in the soil tub es like the dental fillings in teeth. The sheets of photographs of the teet h in the show are recurring in the metal foam A4&rsquo\;s. Metal foam is a material used for aircrafts and now presented as a paper format on which in formation is often transmitted. In the exhibition the &lsquo\;Amalgam&rsquo \; works are responding to the study of matter and meaning. Accumulations\, crystallizations and eruptions do not exclusively happen in certain behavi ours of visible matter\, but also occur in genetics\, language or social dy namics. In the words of Irijalba: &lsquo\;Amalgam as an opaque capacity function as a substance to forget. Amalgam is to override\, to overwrite. To disallow the past with a substance\, as opaque in appearance as transpar ent in it's lack of structure.&rsquo\;


Julia Geerlings

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Carlos Irijalba is currently a resident at the Rijksakademie van Beeldende kunsten in Amste rdam (2013/2014). He graduated at the Basque Country University and UDK Ber lin in 2004. He was awarded with the Guggenheim Bilbao Photography Grant in 2003 and the Marcelino Botí\;n Art Grant in 2007/08. He also receive d the Purificacion Garcia Photography First Prize and the Revelation PhotoE spañ\;a Prize among others. Irijalba has exhibited in galleries\, art institutions and museums worldwide\, including CCCB Barcelona\, Herzliya M useum Israel or The Yokohama Art Center and LMCC New York.

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+ pre sentation CUT magazine about art\, issue 10\, including small photo edition of Carlos Irijalba\, edition 35\, signed\, numbered and dated

DTEND:20140521 DTSTAMP:20140425T021620 DTSTART:20140419 GEO:52.3874859;4.8855832 LOCATION:Galerie van Gelder\,Planciusstraat 9 A \nAmsterdam\, 1013 MD SEQUENCE:0 SUMMARY:Amalgam\, Carlos Irijalba UID:333071 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bram Zwartjens is jarenlang in een doorgaande beweging gefocused op de plaasing van botanische  \;fragmenten in een abstract s ysteem. Dit systeem kan de vorm van een grid van blokjesvormen  \;in bl inddruk hebben\, een geordende sterrenhemelzijn\, of een spiraalvorm die in een regelmatig  \;puntenpatroon is neergezet. Afdrukken van bladeren\, een cirkel van punten bestaande uit  \;zelf gezeefde en in tempera wee r gebonden\, pure lapis lazuli\, stippen van zacht grafiet\,  \;waaraan de kunstenaarshand net een klein veegje heeft toegevoegd\, waardoor draaii ng  \;wordt gesuggereerd.... Het is fijne wereld van geometrische natuu r en helderheid\, waarin  \;leven en dood hun plaats vinden - dat laats te bijvoorbeeld in de ellips van dode vliegen. \;

DTEND:20140614 DTSTAMP:20140425T021620 DTSTART:20140427 GEO:51.9129011;4.476732 LOCATION:Phoebus Rotterdam\,Eendrachtsweg 61 NL \nRotterdam\, 3012 LG SEQUENCE:0 SUMMARY:[botanische fragmenten]\, Bram Zwartjens UID:333061 END:VEVENT BEGIN:VEVENT DTEND:20140427T170000 DTSTAMP:20140425T021620 DTSTART:20140427T150000 GEO:51.9129011;4.476732 LOCATION:Phoebus Rotterdam\,Eendrachtsweg 61 NL \nRotterdam\, 3012 LG SEQUENCE:0 SUMMARY:[botanische fragmenten]\, Bram Zwartjens UID:333062 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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At the second edition of Paris Photo Los Angeles Fla tland Gallery is proud to present the acclaimed series &lsquo\;White Africa ns&rsquo\; by South African photographer Katharine Cooper.
In 2013 Fl atland Gallery showed the work &ldquo\;Looking for Alfred&rdquo\; of the Be lgian artist Johan Grimonprez (whose work is part of the collection of Cent re Pompidou\, Paris and Tate London\, UK) at the first edition of Paris Pho to in Los Angeles\, U.S.A.

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Katharine Cooper (1978\, Grahamstown\, S outh Africa)
Just a year ago\, in 2013 Katharine Cooper was awarded t he Photography prize by the Academy of Fine Arts in Paris &lsquo\;le Prix d e Photographie Marc Ladreit de Lacharrière &ndash\; Academie des beaux-art s&rsquo\; for her stunning documentary on the white minority in South Afric a\, &lsquo\;Les Blancs Africains. Voyage au pays natal&rsquo\;. Katharine C ooper lives and works in Arles\, France. \;

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\n DTEND:20140427 DTSTAMP:20140425T021620 DTSTART:20140425 GEO:52.3601715;4.8918082 LOCATION:Flatland Gallery\,Lijnbaansgracht 314 \nAmsterdam\, 1017 WZ SEQUENCE:0 SUMMARY:Paris Photo Los Angeles 2014\, Katharine Cooper UID:333058 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Stedelijk Museum Bureau Amsterdam &ndash\; in cooperation with the new p roject space for art\, design and architecture at the Looiersgracht 60 &nda sh\; proudly presents Lard Buurman - Africa Junctions. The exhibition is th e \;result \;of the photographic project on African cities that Lar d Buurman (b. 1969\, Netherlands) started in the spring of 2008. Now\, six years later\, this project has beencompleted \;and crowned with the pub lication Africa Junctions. Capturing the City\, published by Hatje Cantz Ve rlag\, including three essays by distinguished writers from Senegal\, Niger ia and South-Africa\, and an exhibition organized by Stedelijk Museum Burea u Amsterdam\, in the premises of Looiersgracht 60\, Amsterdam. \;

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Africa Junctions

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For Af rica Junctions Lard Buurman visited 14 cities in 12 countries on the contin ent of Africa over a \;period \;of six years. Buurman is \;inte rested in \;everyday \;life \;on the streets of the cities: the ir residents\, their lives\, and how they utilize public space. The human&n bsp\;body\, the \;movement \;ofindividuals and groups constantly cr eate a choreography in Buurman&rsquo\;s urban photographic portraits\, so t hat he becomes not only a portraitist of the fleeting urban \;moment\, but also its director through his careful composition of the images. Buurma n allows the \;viewer \;to feel themovement \;of the city in st ill images\, so that they become a metaphor for the variability \;andfl exibility \;of the city and its inhabitants.

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Normal cities

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African cities are complex cities: overflowing with people\, chaotic and largely growing unpla nned from the periphery. To our western eyes they very quickly seem dangero us and dysfunctional. Lard Buurman however reveals the true nature of the A frican city: a &lsquo\;normal&rsquo\; city\, without drama orviolence. Dail y \;life \;there is improvised on the street. Public and private sp aces flow into each other: the pavement can also be a street restaurant or a shop\; a traffic jam can mean a delay for some people\, but is a lucrativ e source of income for others. The city does function.

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Cinematic photography

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Lard Buurman's photos not only give us anotherperspective \;on Africa\, but also on the concept of &lsquo\;documentary photography&rsquo\;. Buurman con structs his photographic images from dozens of different snapshots from the same \;perspective. This is still often regarded as a taboo in documen tary photography\, while in Buurman's eyes every photo is a manipulation of reality. With this new\, hybrid form of &lsquo\;cinematic photography&rsqu o\; Buurman seeks to capture the \;everyday \;realities of the plac e rather than the reality of the \;moment.

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Publication

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The book Africa Junctio ns. Capturing the City contains over eighty photographs. Essays by authors who reflect on the African city and the way in which Lard Buurman works are included with the photos. These contributions include texts by the Senegal ese curator N&rsquo\;Goné\; Fall\, the Nigerian author Chris Abani\, the South African architect/artist Alexander Opper\, and an interview with Lard Buurman by Chris Keulemans. The book is designed by Roosje Klap\, edit ed by Nina Folkersma\, and published by Hatje Cantz Verlag.

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The book receives its public launch on Wednesday\, 23 April\, during a discussion programme. The names of the participants in the discussion will be announced at a later date.

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Organ ization

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The exhibition Africa Junctions is bei ng organized by SMBA\, the project space of Stedelijk Museum Amsterdam\, in collaboration with Looiersgracht 60\, a new project space for \;contem porary \;art in Amsterdam. The exhibition and book launch will take pla ce in the premises of Looiersgracht 60\, Amsterdam.

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Exhibition design: Hugo Timmermans/Optic

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Satellite exhibition

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Simultaneous ly with the exhibition in SMBA/Looiersgracht 60\, Amsterdam\, there will be an exhibition by Lard Buurman in CBK ZuidOost\, with six photos in public spaces in the Zuidoost.

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Met trots presenteert Stedelijk Museum B ureau Amsterdam in samenwerking met de nieuwe projectruimte \;voor kuns t\, design en architectuur aan de Looiersgracht 60 de tentoonstelling \ ;Africa Junctions. De tentoonstelling bestaat uit het fotografisch project van Lard Buurman (*1969\, Nederland) dat hij in 2008 is begonnen o ver Afrikaanse steden. Nu\, zes jaar later wordt dit project\, dat 14 Afrik aanse steden zonder dramatiek of geweld toont\, afgerond en bekroond met de publicatie \;Africa Junctions. Capturing the City\, uitgegeve n door HatjeCantz Verlag\, inclusief drie essays van belangwekkende auteurs uit Senegal\, Nigeria en Zuid-Afrika.

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Africa J unctions

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Voor \;Africa Junctions& nbsp\;bezocht Lard Buurman in zes jaar \;tijd \;veertien steden in twaalf landen op het Afrikaanse continent. Buurman&rsquo\;s interesse gaat uit naar het alledaagse straatbeeld van de stad: naar haar inwoners\, naar hun \;leven \;en het gebruik van de publieke \;ruimte. Het mens elijk lichaam\, de bewegingen van \;individuen en groepen creë\;ren steeds een choreografie in Buurman&rsquo\;s stedelijke fotografische portr etten. Hij is daarbij niet alleen de portrettist van het stedelijke moment\ , maar ook de regisseur ervan door het beeld zorgvuldig te componeren. Buur man laat daardoor de beweging van de stad voelen in stilstaand beeld en maa kt deze tot metafoor voor de veranderlijkheid en flexibiliteit van de stad en haar bewoners.

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Normale steden

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Afrikaanse steden zijn complexe steden: ze zijn o vervol\, chaotisch en grotendeels ongepland gegroeid vanuit de periferie. I n onze westerse ogen zijn ze al snel gevaarlijk en disfunctioneel. Lard Buu rman toont de Afrikaanse stad echter in zijn ware aard: als een &lsquo\;nor male&rsquo\; stad\, zonder dramatiek of geweld. Het gewone \;leven  \;speelt zich hier al improviserend af op straat. Publieke en private \ ;ruimtes lopen in elkaar over: een stoep kan ook een straatrestaurant zijn of een winkel\, een file betekent oponthoud voor de é\;é\;n en een lucratief inkomen voor de ander. De stad functioneert.

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Filmische fotografie

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De foto&rsquo\;s van Lard Buurman werpen niet alleen een andere blik op Afrik a\, maar ook op het begrip &lsquo\;documentaire fotografie&rsquo\;. Buurman bouwt zijn fotografische beelden op uit tientallen verschillende momentopn ames vanuit hetzelfde perspectief. Binnen de documentaire fotografie wordt dit nog vaak als een taboe beschouwd\, terwijl in de ogen van Buurman elke foto een manipulatie van de werkelijkheid is. Met deze nieuwe\, hybride&nbs p\;vorm \;van &lsquo\;filmische fotografie&rsquo\; probeert Buurman de alledaagse werkelijkheid van de plek vast te leggen in plaats van de werkel ijkheid van het moment.

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Pu blicatie
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Het boek \;Africa Junctions. Capturi ng the Citybevat ruim tachtig foto&rsquo\;s. Bij de foto&rsquo\;s zijn essays opgenomen van auteurs die reflecteren op de Afrikaanse stad en de w erkwijze \;van Lard Buurman. De bijdragen bestaan uit tekstenvan de Sen egalese curator N&rsquo\;Goné\;Fall\, de Nigeriaanse auteur Chris Aba ni\, de Zuid-Afrikaanse architect/kunstenaar Alexander Opper en een intervi ew met Lard Buurman door Chris Keulemans. Het boek isvormgegeven door Roosj e Klap\, onder redactie van Nina Folkersma en wordt uitgegeven door HatjeCa ntz Verlag.

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Op \;woensdag 23 apr il \;wordt het boek gepresenteerd aan het publiek met een deba tprogramma. Deelnemers aan dit debat worden later bekend gemaakt.

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Organisatie

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De tentoonstelling Africa Junctions wordt georganiseerd door SMBA\, de projectruimtevan Stedelijk Museum Amsterdam\, in samenwerking met Looie rsgracht 60\, een nieuwe projectruimte \;voor hedendaagse kunst in Amst erdam. De tentoonstelling en de boekpresentatie vinden plaats op de \;l ocatievan Looiersgracht 60\, Amsterdam.

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Tent oonstellingsontwerp: Hugo Timmermans/Optic

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Sateliettentoonstelling

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Gel ijktijdig met de tentoonstelling in SMBA/Looiersgracht 60\, Amsterdam vindt een tentoonstelling plaats van Lard Buurman in CBK ZuidOost\, met 6 foto&r squo\;s in de openbare \;ruimte \;van Zuidoost.

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DTEND:20140503 DTSTAMP:20140425T021620 DTSTART:20140412 GEO:52.3685018;4.8808644 LOCATION:Looiersgracht 60\,Looiersgracht 60 \nAmsterdam\, 1016 VT SEQUENCE:0 SUMMARY:Africa Junctions\, Lard Buurman UID:333025 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&lsquo\;I would prefer not to&rsquo\; is a group exhibi tion exploring the significance of idleness and labour for art. With the es calating fusion of \;life \;and work due to the omnipresence \; of social media\, and the sheer impossibility of escaping the global networ k of capital production\, the arts have to reconsider their position in rel ation to work. The exhibition proposes an \;intimate \;rejection of the state of permanent availability \;for\, and indefinite willingness to work within our \;contemporarysociety &ndash\; and shows that such a rejection might be fruitful as well. The artists involved pose alternativ e \;life \;strategies\, such as the creation of crypto currencies t o invest in cultural infrastructure\, or the option of acceptance whenartis tic \;processes stagnate. Overall\, the exhibition is a reflection on d oing nothing as the source for creativity.

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&lsquo\;I wo uld prefer not to&rsquo\; is part of the &lsquo\;followup&rsquo\; curatoria l program by the \;studio \;and exhibition centre \;Schloss Rin genberg \;in Hamminkeln\, Germany.

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The participatin g artists challenge the tautology that artworks are always the fruit of lab our by including different modes of non-working in their practice. For exam ple\, for the collective Etcetera... non-working is a \;moment \;of laziness in one of the hammocks they offer to forget the work that still n eeds to be done. Mladen Stilinovi?&rsquo\;s contribution looks like a bulle tin board without bulletins: the logic of the note system is undermined as all reminders on display \;are empty. During the opening on Friday\, 18 April\, Dora Garcia's \;The Artist Without Works (A Guided Tour Ar ound Nothing) \;will be performed\, navigating between failure and non-conformism\, as there is no work to be seen in this guided tour. The s even \;artistic \;approaches to work in this exhibition examine the conditions and state of work within the art world from their personalpersp ectives\, arguing for recreation and leisure in order to gain more independ ence\, freedom of thought\, and nevertheless have quality of \;life. Al l in all\, laziness and rejection of work take on the guise of resistance a nd protest.

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The exhibition offers room for c ontemplation on the figure of the artist\, whose profession in particular h as always been a fusion of \;life \;and work. However\, the working  \;life \;of an artist &ndash\; defined by some as a cultural produ cer &ndash\; is nowadays more easily compared to that of other workers\, in creasingly more so given that the digital and actual social \;life  \;of each and everyone is completely dominated by economic mechanisms that even produce capital with your personal preferences. Resistance to being co nstantly productive then also becomes a rejection of surrender to the econo mic order which increasingly defines the \;life \;and work of an ar tist\, and arguably everybody \;else participating in \;contemporar y \;life. In light of the developments in the last decades\, in which a n inflexible business network arose in the art world and it became correspo ndingly more competitive\, more global\, and more market oriented\, lazines s and non-working are conceivably \;artistic \;methods to undercut the commodity status of artworks\, for example. Perhaps the artist&rsquo\;s need to resist the mechanisms that speculate on financial rather than on&n bsp\;artistic \;value has grown\, or at least the need to reflect on th e changing status of artworks has emerged. &lsquo\;I would prefer not to&rs quo\; offers \;artisticapproaches to these \;themes\, and seems to step away from constant productiveness to foster improvement.

\n< p class="flindent" style="text-align: justify\;">The exhibition is part of the curatorial program followup\, a projec t of \;Schloss Ringenberg. This project&rsquo\;s goal is to support pra ctice-oriented young curators and artists in collaboration with German and Dutch cultural initiatives\, including the Stedelijk Museum Bureau Amsterda m.

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&lsquo\;I would prefer not to&rsquo\; is accompanied by SMBA Newsletter no. 136 with an introduction by Stefanie Humbert and St ephanie Noach. \;

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Stefanie Humbert \;(1978\, Passau\, Germany) is an independent curator\, writer and fil mmaker. She studied Fine Arts\, Critical Writing and Curatorial Studies. Hu mbert worked before at Folkwang Museum\, Oldenburger Kunstverein\, and Thea ter am Turm. Currently she is curator-in-residence at Schloss Ringenberg.

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Stephanie Noach \;(1986\ , Amsterdam\, Netherlands) is a curator and writer. She has been working as an independent curator on pop-up performative presentations in New York\, and for the Havana Biennial. Currently she is curator-in-residence at Schlo ss Ringenberg.

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The exhibition has been made possible by : \;

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Verbands-Sparkasse Wesel\; Sparkassen-Kulturst iftung Rheinland\; Kö\;nigreich der Niederlande\; Stadt Hamminkeln\; Mo ndriaan Fund\; Kunststiftung NRW\; Ministerium fü\;r Familie\, Kinder\, Jugend\, Kultur und Sport des Landes Nordrhein-Westfalen.

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De groepstentoonstell ing &lsquo\;I would prefer not to&rsquo\; omhelst het belang van luiheid en werken voor de kunst. De versmelting van werk en ontspanning door de socia l media en de onmogelijkheid om aan het wereldwijde netwerk van kapitaalpro ductie te ontsnappen\, dwingt kunstenaars om hun positie ten opzichte van h un werk te heroverwegen. &lsquo\;I would prefer not to&rsquo\; gaat in op d e mogelijkheden om af te \;zien \;van permanente beschikbaarheid in onze samenleving &ndash\; en toont dat een dergelijke afwijzing toch vruch tbaar kan zijn. De betrokken kunstenaars creë\;ren alternatieve \;l evensstrategieë\;n\, zoals crypto-currencies om te investeren in cultur ele infrastructuur\, of nemen de optie van acceptatie als het artistieke pr oces stagneert\, serieus. Uiteindelijk is de tentoonstelling een reflectie op het nietsdoen als een bron voor creativiteit. \;

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&lsquo\;I would prefer not to&rsquo\; i s onderdeel van het curatorië\;le \;programma \;&lsquo\;followu p&rsquo\; van studio- en expositieruimte \;Schloss Ringenberg \;in Hamminkeln\, Duitsland.

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De deelnemende kunstenaars tarten de tautologie dat een kunstwerk altij d \;de vrucht van arbeid is door verschillende methodes van niet-werken in hun kunstwerk op te nemen. Voor het collectief Etcetera&hellip\; is nie t-werken een uitgelezen kans voor een luiermoment in een \;installatie& nbsp\;met hangmatten\, zodat het uitgestelde werk even vergeten kan worden. Mladen Stilinovi?&rsquo\;s bijdrage ziet eruit als een prikbord zonder not ities\; de logica van het systeem is ondermijnd omdat alle memo&rsquo\;s op dit bord leeg zijn. Tijdens de \;openingvan de tentoonstelling op vrij dag 18 april zal Dora Garcia&rsquo\;s \;The Artist Without Works (A Guided Tour Around Nothing) \;worden uitgevoerd. De performance l aveert tussen falen en non-conformisme\, want er is geen werk te \;zien  \;bij deze rondleiding. De zeven artistiekebenaderingen tot werken op de expositie onderzoeken vanuit een persoonlijk perspectief de stand van za ken in de kunst omtrent werk. Ze dragen bij aan de overtuiging dat recreati e en vrije \;tijd \;voor een grotere onafhankelijkheid en dus vrije re gedachten zorgen\, en daarmee de kwaliteit van \;leven \;bevorde ren. Al met al nemen luiheid en werkweigering hier de gedaante aan van verz et en protest.

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De tentoonstelling biedt \;rui mte \;om de figuur van de kunstenaar te overdenken\, wiens beroep in he t bijzonder altijd \;al een mix is geweest vanleven \;en werk. Echt er\, de carriè\;re van kunstenaar &ndash\; door sommigen omschreven a ls cultureel producent &ndash\; is tegenwoordig makkelijker te vergelijken met die van andere arbeiders\, gezien \;het feit dat het digitale en re ë\;le socialeleven \;volledig worden gedomineerd door economische m echanismen\, die zelfs kapitaal produceren op \;basis \;van ieders persoonlijke voorkeuren. Een verzet tegen constante productiviteit is ook e en verzet tegen de onderwerping aan de huidige economische orde die het&nbs p\;leven \;van de kunstenaar en ieder ander bepaalt. Misschien is er ee n groeiende behoefte van kunstenaars om de mechanismen te weerstaan die spe culeren met de financië\;le in plaats van de artistieke waarden. In ied er geval is de drijfveer om te reflecteren op de veranderende status van he t kunstwerk toegenomen. Luiheid en niet-werken zijn artistieke methoden om de handelswaarde van kunstwerken te betwisten\, zeker nu kunstwereld steeds meer in de greep komt van financië\;le belangen en netwerken deel word t van mondiaal competitief en marktgericht \;denken. &lsquo\;I would pr efer not to&rsquo\; biedt artistieke invalshoeken op deze thema&rsquo\;s en neemt afstand van constante productiviteit om zo\, paradoxaal genoeg\, ver betering te bewerkstelligen. \;

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De tentoonstelling is onderdeel van het curatorië\;le&n bsp\;programma \;followup\, een project vanSchloss Ringenberg. Het doel van dit project is om praktijkgerichte jonge curatoren en kunstenaars te o ndersteunen in samenwerking met Duitse en Nederlandse culturele initiatieve n\, waaronder Stedelijk Museum Bureau Amsterdam.

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Bij &lsquo\;I would prefer not to&rsquo\; verschijnt SMBA Nieuw sbrief nr. 136 met een introductie van Stefanie Humbert en Stephanie Noach.  \;

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Stef anie Humbert \;(1978\, Passau\, Duitsland) is onafhankelijk cu rator\, schrijver en filmmaker. Ze studeerde beeldende kunst\, Critical Wri ting en Curatorial Studies. Humbert was eerder werkzaam bij Museum Folkwang \, Oldenburger Kunstverein en Theater am Turm. Momenteel is ze curator-in-r esidence by Schloss Ringenberg.

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  \;

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Stephanie Noach \;(1986\, Amsterdam\, Nederland) is curator en schrijve r. Ze heeft gewerkt als onafhankelijk curator aan pop-up performatieve pres entaties in New York en voor de Havana Bië\;nnale. Momenteel is ze cura tor-in-residence bij Schloss Ringenberg. \;

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De tentoonstelling is mede mogelijk gemaakt doo r:

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Verbands-Sparkass e Wesel\; Sparkassen-Kulturstiftung Rheinland\; Kö\;nigreich der Nieder lande\; Stadt Hamminkeln\; Mondriaan Fund\; Kunststiftung NRW\; Ministerium fü\;r Familie\, Kinder\, Jugend\, Kultur und Sport des Landes Nordrhei n-Westfalen.

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DTEND:20140608 DTSTAMP:20140425T021620 DTSTART:20140418 GEO:52.3727666;4.8811517 LOCATION:Stedelijk Museum (Bureau Amsterdam)\,Rozenstraat 59 \nAmsterdam\, 1016 NN SEQUENCE:0 SUMMARY:I Would Prefer Not To\, Etcetera…\, Céline Berger\, Mladen Stilinov ić\, Stefan Muller\, Dora Garcia\, Jos de Gruyter and Harald Thys\, Goldex Poldex UID:333022 END:VEVENT END:VCALENDAR