In 2024, Boer and Winnie Herbstein will start the research project Contemporary Conflict within the fellowship Community and Conflict in an Urban Environment, a collaboration between Framer Framed and the Department of Political Science at the University of Amsterdam.

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In 2024, Herbstein and René Boer will start the research project Contemporary Conflict within the fellowship Community and Conflict in an Urban Environment, a collaboration between Framer Framed and the Department of Political Science at the University of Amsterdam.

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Well known books (among others) written by him are Surinaams Contrast (1993), Kunst van overleven, marronculturen van Suriname (2009), Rotterdam in slavernij (2020) and Antilliaans erfgoed (2021 with Gert Oostindie e.a.)

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Her recent publications include, among others, Interculturalidad, Estado, Sociedad: Luchas (de)coloniales de nuestra epoca (Quito: Universidad Andina Simon Bolivar/Abya Yala, 2009); “The (De)Coloniality of Knowledge, Life, and Nature: The N.A.-Andean FTA, Indigenous Movements, and Regional Alternatives,” in Shefner and Fernandez-Kelley (eds). Alternative Perspectives on Globalization: Status, Regions, and Movements, Pennsylvania State University Press, in press; “(Post)Coloniality in Ecuador: The Indigenous Movement’s Practices and Politics of (Re)signification and Decolonization,” in Moraña, Dussel, and Jauregui (eds.), Coloniality at Large: The Latin America and the Postcolonial Debate, Durham: Duke University Press, 2008; “Shifting the Geopolitics of Critical Knowledge: Decolonial Thought and Cultural Studies “Others” in the Andes”, Cultural Studies, 21, 2-3, 2007; and “Afro-Andean Thought and Diasporic Ancestrality (with E. Leon), in Shifting the Geography of Reason: Gender, Science and Religion, Marina Banchetti and Clevis Headley (eds.), London: Cambridge Scholars Press, 2007

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As an art curator, Katayoun has made two exhibitions at Framer Framed; The End of This Story (And the beginning of all Others) (2015) and Voices Outside the Echo Chamber (2016) and I Speak in Tongues (2017) at 37PK, Haarlem.

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Marcela has documented the immaterial and ancestral damages suffered by Quilombola and Indigenous populations affected by major disasters in Brazil. An example of this is the Mariana disaster — the largest river destruction in the world caused by the collapse of a mining dam. She was part of the research team for the Rio Doce Project, conducting diagnostics, impact assessments and evaluating damages caused to communities by the Fundão dam collapse in Mariana, Minais Gerais, Brazil.

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Curry holds an MFA in New Genres from UCLA (2010) and a PhD in Media Study from the State University of New York at Buffalo (2018). He is currently an Associate Professor in Art + Design at Northeastern University in Boston. Curry has exhibited at venues including Ars Electronica, ISEA, National Gallery X (London), NeMe (Cypress), and the Athens Digital Arts Festival. His research has been published in Leonardo, Big Data & Society, Digital Culture & Society, Visual Resources, and Leuven University Press. His artwork has been funded by Science Gallery (Dublin, Detroit, Atlanta), NEoN Digital Arts Festival, and MediaFutures. He is the recipient of the 2023 MediaFutures Best Artist(s) in the Artists for Media track award.

Together with Jennifer Gradecki, Derek Curry is a participating artist in the Framer Framed exhibition Really? Art and Knowledge in Time of Crisis curated by Mi You and David Garcia.

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Gradecki holds a PhD in Visual Studies from SUNY Buffalo (2019) and an MFA in New Genres from UCLA (2010). She is currently an Associate Professor in Art + Design at Northeastern University in Boston. She has presented and exhibited at venues including Ars Electronica (Linz), ISEA (Barcelona), National Gallery X (London), NeMe (Cyprus), Athens Digital Arts Festival, International Symposium on Computational Media Art (Hong Kong), and Piksel Festival (Bergen). Her research has been published in Leonardo, Big Data & Society, Visual Resources, and Leuven University Press and her artwork has been funded by Science Gallery, NEoN Digital Arts Festival, and MediaFutures.

Together with Derek Curry, Jennifer Gradecki is a participating artist in the Framer Framed exhibition Really? Art and Knowledge in Time of Crisis curated by Mi You and David Garcia.

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His works have been shown at transmediale in Berlin, steirischer herbst in Graz, the BFI London Film Festival, the National Gallery of Art in Vilnius, Ars Electronica in Linz, and the Aksioma Institute for Contemporary Art in Ljubljana, among others.

Together with Anna Engelhardt, Mark Cinkevich is a participating artist in the Framer Framed exhibition Really? Art and Knowledge in Time of Crisis curated by Mi You and David Garcia.

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Together with Mark Cinkevich, Anna Engelhardt is a participating artist in the Framer Framed exhibition Really? Art and Knowledge in Time of Crisis curated by Mi You and David Garcia.

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RIWAQ is distinguished by its focus on rural areas in Palestine. Founded in 1991, RIWAQ’s experience in the restoration of rural Palestine shows that there is an urgent need for community and cultural centres for marginalised groups. Since 2001 ‘Job Creation through Restoration Projects’ approved that the restoration work led to a sustainable increase in awareness of the importance of cultural heritage, and led to a higher standard of living of large segment of the population.

Because of the huge demand for these services, as well as the scarcity of human and financial resources, Riwaq has been implementing ‘The 50-Village Rehabilitation Project’. This project is a culmination of RIWAQ’s long period of work and experimentation in rehabilitating and safeguarding heritage in Palestine as a tool for socio- economic and political development.

RIWAQ’s projects are not only about job creation or about the restoration of stones and historic structure. They raise awareness about the importance of cultural heritage as a pillar for Palestinian identity and collective memory. Furthermore, they are about creating a space suitable and safe for life and work and the production and dissemination of knowledge.

Throughout its life span, RIWAQ has turned the field of heritage to a medium of thinking urgent and emergent socio-economic-cultural-political concerns. In this paradigm, the heritage becomes the field not only for knowledge production but also the field for change.

RIWAQ is a participating artist in the Framer Framed exhibition Really? Art and Knowledge in Time of Crisis curated by Mi You and David Garcia.

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Zheng Mahler has had solo presentations at the Johann Jacobs Museum, Zurich, Switzerland (2014, 2016) and PhD Group in Hong Kong (2023). The collective has also exhibited projects at the KW Institute of Contemporary Art, Berlin, Germany (2024); Kunsthalle Mainz, Germany (2023); Helsinki Biennale, Finland (2023); UCCA Dune, Beidaihe, China (2022–23); Singapore Museum of Art (2022); M HKA, Antwerp, Belgium (2021); Asian Cultural Center, Gwangju, Korea (2021); Shanghai Biennale, China (2021); Tai Kwun Contemporary, Hong Kong (2019); Akademie der Künste der Welt, Cologne (2019); Para Site, Hong Kong (2016–17) and Performa Biennale, New York (2015).

Zheng Mahler is a participating artist in the Framer Framed exhibition Really? Art and Knowledge in Time of Crisis curated by Mi You and David Garcia.

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They deal with new relational strategies and new hybrid production forms in the field of hybrid presence. As an Internet TV station, UKRAiNATV specialises in building live audiovisual bridges, hosting a multi-channel streaming hub, recording studio. UKRAiNATV experiment with tactical media and realities, mixing used and brand new equipment and concepts, creating one-off blends of the real and the virtual, online and offline. They are a GLOCAL, hybrid and collective melting pot of people, machines, ideas, identities and signals. It is an artistic, social, political and research-based project all in one.

Operating in the shadow of war and geopolitical tensions, UKRAiNATV is a collective that was born a few days after the Russian invasion of Ukraine in 2022. They aim to create connections and solidarity between persons in-needs, refugees, nomadic artists, expats and migrants that do not feel safe to express themselves freely in their own country or states.

UKRAiNATV is a participating artist collective in the Framer Framed exhibition Really? Art and Knowledge in Time of Crisis curated by Mi You and David Garcia.

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Ho’s recent solo exhibitions were held at  Art Sonje Center (2024), Singapore Art Museum (2023), Hammer Museum (Los Angeles, 2022), Toyota Municipal Museum of Art (Aichi, 2021), Crow Museum of Asian Art of the University of Texas at Dallas (2021), Yamaguchi Center for Arts and Media (2021), Kunstverein in Hamburg (2018), and Ming Contemporary Art Museum (Shanghai, 2018). He represented Singapore at the 55th Venice Biennale in 2011. Ho’s recent group exhibitions include Thailand Biennale (2023), Aichi Triennale (2019), 12th Gwangju Biennale (2018), and 10th Shanghai Biennale (2014).

His works have also been presented in numerous international theaters and film festivals, including Theater der Welt (2010, 2023), kunstenfestivaldesarts (2006, 2008, 2018), Berlin International Film Festival (2015), Sundance Film Festival (2012), Venice Film Festival (2009) and 41st Directors’ Fortnight at the Cannes Film Festival (2009). In 2019, Ho co-curated the 7th Asian Art Biennial with Taiwanese artist Hsu Chia-Wei at the National Taiwan Museum of Fine Art.

Ho Tzu Nyen is a participating artist in the Framer Framed exhibition Really? Art and Knowledge in Time of Crisis curated by Mi You and David Garcia.

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During an artist-in-residency at Kunsthuis SYB in 2023, Pia and Katinka started researching the Lesbisch Archief Leeuwarden (Lesbian Archive Leeuwarden, later named the Anna Blaman Huis) which existed from 1976 until 2013. They considered what it means to open up this archive in an artistic context. With this project, they reproduce the gestures of an archivist when they search, browse, pack, unpack and copy materials from the archive and, when they share their project with an audience, carry on the role of desk clerk and spokesperson. An important part of this practice for Pia and Katinka is the affective relationship with the material, an echo of the intimacy from the early days of the archive, while drawing on their bond as roommates.

Pia Louwerens makes performances in which she tries to understand how the artwork, artist and the (institutional) context produce each other. She imagines these relationships as an intertextual network, or script, which she can ‘co-write’ through performance, spoken and written text. She often works with appropriation and (self)citation, re-using old scripts in new performances. Because of this, her performances form their own archive. She sees this as a way to develop forms of publication and exhibition that do not require transparency or visibility, but instead add more and more layers to the work.

Katinka van Gorkum explores the idea of the house and feeling at home by making private spaces public and by challenging the very idea of the house as a stable base. She is currently doing this through the medium of writing. She undertook a research on the Rotterdam-based and openly lesbian writer Anna Blaman (1905-1960), which led, among other things, to a short story in which the main character hides in Blaman’s virtual bedroom. In the pamphlet Loving Characters Into Gas Station Snacks, she and Sára Iványi published the un-edited conversation they had via a text-based dating app, writing to each other on a daily basis without knowing who the other person was or what they looked like.

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You has curated exhibitions and performative programmes at Asian Culture Center in Gwangju, South Korea, Ulaanbaatar International Media Art Festival, Mongolia (2016), Zarya Center for Contemporary Art, Vladivostok (2018), and leads the longterm research/curatorial project Unmapping Eurasia (2018 – ) with Binna Choi. As a curator of Sci-(no)-Fi at the Academy of the Arts of the World, Cologne (2019) and of Lonely Vectors, at the Singapore Art Museum (2022), she explored the social impact of new technologies and ‘actionable speculations’.

She was one of the curators of  13^th Shanghai Biennale (2020-2021). On the social front, she serves as chair of committee on Media Arts and Technology for the transnational NGO Common Action Forum. She was named one of the 40 under 40 of the Asia Pacific by the international art magazine Apollo in 2022. Together with David Garcia, she curated the exhibition Really? Art and Knowledge in Time of Crisis (2024) at Framer Framed.

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Son has collaborated with various institutions worldwide, including Z33, Design Museum Gent, iMAL (BE); Sonic Acts, MU Hybrid Art House (NL); Barbican Centre (UK); Kampnagel, ifa, Deichtorhallen, LAS Art Foundation (DE); Ars Electronica (AT); Venice Biennale, Triennale Milano (IT); and Center for Book Arts NY (US).

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Their work has been presented internationally in exhibitions and festivals such as Athens Biennale (2017); documenta 14 – Public Programs (2017); Sharjah Film Platform – Sharjah Art Foundation (2019); Recontemporary art space in Turin (2019); Thessaloniki Documentary Festival (2020); PCAI – Polyeco Contemporary Art Initiative (2020); School of Waters – Mediterranea 19 Young Artists Biennale (2021); Grand Central Art Center, California, USA; and the 23rd Biennale of Sydney: Rīvus (2022).

They have been granted awards by LOOP Barcelona, Sharjah Art Foundation, ARTWORKS-SNF Artist Fellowship Program and The Stavros Niarchos Foundation Public Humanities Initiative (SNFPHI) at Columbia University. Latent Community has participated in international residency programs such as Bemis Center for Contemporary Arts, USA; ONASSIS AiR: The School of Infinite Rehearsals, and Caravan Residency Program (Cittadellarte–Fondazione Pistoletto & Centre for Fine Arts–Bozar).

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Zhang constructs rural worlds by visualizing the poetic and harmonious moments of daily life in his paintings and drawings. He was a resident of Rijksacademie van beeldende kunsten from 2021 to 2023. He also studied for his MFA at AKV/St. Joost School for Art and Design Academy in Den Bosch.

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She has been collaborating closely with Mercedes Azpilicueta since 2019, in the development and coordination of some of her long-term projects. Angeliki’s — mostly collaborative — curatorial, editorial and artistic work has been presented at HIAP (Helsinki), Künstlerhaus Büchsenhausen (Innsbruck), 19th Mediterranea Biennial (San Marino), Onassis Foundation (Athens), Italian Institute of Culture (Tokyo), Laurel Project Space (Amsterdam), JaJaJa NeeNeeNee (Amsterdam), Kunstfort bij Vijfhuizen, PARADISE AiR (Matsudo), Stavros Niarchos Foundation Cultural Center (Athens) and published among others at Flash Art International, Arts of the Working Class, ATP Diary, Roots-Routes, Archive Books, Building Fictions, Lugemik and De Appel.

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He has collaborated with several cultural institutions and art platforms including: the Kin ArtStudio (Kinshasa), Pavillon 54, Framer Framed (Amsterdam) and The Prince Claus Fund (Amsterdam). He has recently contributed to the management of the 7th edition of the Lubumbashi Biennale, the DRC Pavilion at the 23rd edition of the Triennale Milano, and the exhibition Toxicity at the 5th edition of the Kochi-Muziris Biennale.

His writings have been featured in several specialized magazines, exhibitions catalogues and academic publications.

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Juliana also writes poetry and maintains care for labor with the body – particularly the hands – to cook and these days to make bread. Mainly, she thinks about culture, identity, food and commensality, while currently researching food and time.

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Sarah Ndele is the type of artist who expresses herself through different mediums, such as installation, performance, painting or writing. Her work questions the memory, the roots and the present of initiation among the Bakongo people in the west of the DRC. The anti-colonial revolutionary and prophetess Kimpa Vita (1684-1706) is her main source of inspiration. This is how she conducts research into Kongo art.

Sarah Ndele has participated in several festivals, such as KinAct in Kinshasa, the Emomé Art Festival in Togo and the Nyege Nyege Festival in Uganda. She curated and participated in artistic and cultural projects in Benin, Cameroon, Congo and Brazil. Next to that, she wrote the article Congo: fertile trees near the source, organises night exhibitions in Kinshasa and is coordinator at the Farata collective. Ndele also organises and coordinates the 2024 performance art festival Kin-Etelemi-Telemi and the women’s festival Kasala in the Soul of Women, with the collective Ndaku Ya La Vie Est Belle in Kinshasa.

Sarah Ndele’s performance for Maintaining the Root (2024) at Framer Framed, Amsterdam. Photo: © Marlise Steeman / Framer Framed

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From a very early age, Mamo Arwawiku learned to heal and defend the territory following the spiritual teachings of his parents and grandparents. For this, it is necessary to connect his thoughts with Mother Earth, to talk to her and to take care of her in each territory. In order to heal, he learned to walk through different territories to identify where the destructive thoughts come from and to know in which part of the territory the diseases come from.

Mamo Arwawiku has traveled to various countries warning of the dangers of destroying the landscapes and showing how we are making Mother Earth sick. He has focused on reweaving the spiritual fabric between countries. If he has the opportunity to teach people to connect their thoughts with Mother Earth and heal, he does it because it is his mission. At 78 years of age in 2024, his job is to pass the knowledge on to the next generations, so that they can heal, recover their culture, their territory, their knowledge and defend life from the spirit.

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Dwanimako is on the pursuit for the autonomy of his community, taking care of their native seeds and their ancestral agriculture practices. He works with women (Atis) and authorities of various communities on protecting Mother Earth, the thought that cares for life and gives us all food and protection. He learns by listening to the elders and follows the guidance of the Mamos (spiritual guides), who listen to Mother Earth and deliver offerings on the diverse territories. His dream is to share their story so that we all defend Mother Earth, together with the environmental defense, a healthy life and the care of love.

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Leanne is the author of eight previous books, including As We Have Always Done (2017) and Dancing on Our Turtle’s Back.  Her novel Noopiming: The Cure for White Ladies, which was short-listed for the Dublin Literary Prize and the Governor General’s prize for fiction. Her latest project in collaboration with Robyn Maynard, Rehearsals for Living was short-listed for the Governor Generals prize for non-fiction and is a national bestseller.  Leanne’s album Theory of Ice was shortlisted for the Polaris Prize and she was the recipient of the Prism Prize’s Willie Dunn award for innovation in video production.

Working for two decades as an independent scholar using Nishnaabeg intellectual practices, Leanne has lectured and taught extensively at universities nationally and internationally and has twenty years experience with Indigenous land based education. She holds a PhD from the University of Manitoba.

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At Stroom Den Haag they have curated, among others, Attempst to Read the World (Differently): Three Exhibitions in Five Acts, with Max de Waard, Monira al Qadiri and Jean Katambayi Mukendi, Lawrence Lek: Nøtel The Hague , Yvonne Dröge Wendel: To Be To Gather ; and From the Sea to the Clouds to the Soil , a group exhibition mapping kinship relations across time and technologies with Femke Herregraven, Risk Hazekamp, ​​Urok Shirhan, Yeon Sung and Natasha Tontey. They have initiated and curated the Uncertainty Seminars , an ongoing cycle of experimental exchanges, platforming interdisciplinary ways to imagine uncertainty as a cultural strategy.

As a tutor at Design Academy Eindhoven, Ilga is part of a teaching collective conducting a course in contextual studies and design research for the Bachelor program. They are part of a collective Reading Vigil for Palestine , a group of people who gather on Dam square in Amsterdam daily since November 2023, to read about Palestine in public space until a permanent ceasefire. The readings, recorded in full, are broadcast monthly on the Palestinian online radio station, Radio Alhara.

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In 2013, she graduated from Life Sciences in Xiamen University in China. In 2021, she graduated from ArtEZ University of Arts in Arnhem, Netherlands. Her work has been shown in various art and academic institutions in the Netherlands and abroad, such as Stedelijk Museum, Rijksakademie, CBK Zuidoost Amsterdam, Casco Art Institute Utrecht, Arnhem Museum, Utrecht University, International Institute of Social Studies The Hague, Wageningen University; as well as Beaufort Triennale Belgium, Bonn University, Kassel University Germany, Editorial Colectivo Retos Mexico and UniTierra Manizales Colombia.

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Lauren Alexander (1983, Pretoria, South Africa, she/her) studied Graphic Design in South Africa before moving to the Netherlands to complete a Master in Design at the Sandberg Institute, Amsterdam and an MFA at the Dutch Art Institute, Arnhem. Her design research practice and teaching has a strong focus on artistic research using design as a tool for impactful storytelling.

Since 2009, Lauren works extensively with Syrian designer Ghalia Elsrakbi as Foundland Collective. Since 2013 the collective has exhibited work internationally, they were nominated for the Prix de Rome prize (2015), Dutch Design Awards (2016) and are fellows of the Smithsonian Artist Research programme. (2015-2016). At Framer Framed, Foundland participated in the exhibition Voices Outside the Echo Chamber (2016).

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Currently, De Vet is a PhD researcher at ARIA, a practice-led doctoral study at Sint Lucas School of Arts and the University of Antwerp. Her research focuses on the conditions of design pedagogy to counteract oppression and injustice through design. She teaches in the master’s program in a social-political context at the Sint Lucas School of Arts, and regularly lectures on alternative cartography, critical pedagogy, and relational design practices at various institutions worldwide.

De Vet established the temporary master’s program Disarming Design (2019–2022) at the Sandberg Instituut Amsterdam, dedicated to design practices in situations of oppression at the intersection of design, crafts, politics, pedagogy, community, and activism. She edited Design Dedication (Valiz, 2020), a publication exploring adaptive mentalities in design education informed by heading the MA in Design ‘Think tank for Visual strategies‘ at the Sandberg Instituut in Amsterdam from 2009 to 2019.

De Vet initiated the publishing initiative Subjective Editions, which provides publications mapping countries from the inside out, offering a human perspective. Notable publications in this series include the Subjective Atlas of Amsterdam (2023), Subjective Atlas of Brussels (2018), Subjective Atlas of Colombia (2015), and Subjective Atlas of Palestine (2007).

Additionally, De Vet co-founded Disarming Design from Palestine, a thought-provoking design platform developing artisanal products from Palestine that convey alternative narratives about life under occupation. This initiative started in 2012 in collaboration with Khaled Hourani and the International Academy of Arts Palestine. In 2015 it continued as an independent non-profit organization based in Belgium and Palestine since 2015.

As a total, the body of work explores the role of design in public and political discourse, seeking to develop methods, structures, and tools that empower a pluralist society through design. The different projects explore how design can be a powerful activism and social change tool. The approach encourages critical thinking about the role of design in society, challenging dominant narratives, questioning preconceptions, and prompting discussions about the ethics and responsibilities of designers in addressing complex social and political problems.

Subjective Atlas of Amsterdam

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Nathalie Roos obtained her teaching qualifications at the Fine Art and Design teacher training course at the Amsterdam University of the Arts (AHK). She subsequently studied Cultural Anthropology at the University of Amsterdam and completed the interdisciplinary master of Education in Arts (AHK). Nathalie worked in a studio for homeless artists, as an educational designer at BAK – basis for art and knowledge, and she set up art educational projects with her EMIC foundation, in which various groups (for example young people and homeless people) worked together on current social issues and contemporary art.

Since 2017, Nathalie has been working as a teacher at the Breitner Academy (AHK) and as a researcher at the Research Group Arts Education (AHK). Currently, she is a PhD candidate in the department of Arts and Culture at the Erasmus University Rotterdam. For her PhD she builds on the outcomes of her previous research Dealing with the real stuff. Design research into interdisciplinary citizenship education through the integration of civic and arts education (Roos, 2020) and focuses on developing a pedagogical approach for student teachers’ arts and social sciences, based on the practices of contemporary activist artists. To do so, in her PhD she explores visions, methods, hopes, dreams, and dilemmas of activist artists and the (artistic) strategies they use to address urgent social issues, through ethnographic fieldwork within activist art practices and literature study. The outcomes of this fieldwork will be translated in the design of an interdisciplinary teacher training program for student teachers in both arts and social sciences (in collaboration with the Amsterdam University of the Arts, the University of Applied Sciences Amsterdam, and Framer Framed).

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Assali holds four degrees in visual arts from Palestine and the U.S, a BFA in Graphic Design from An-Najah National University 2009, and a BA in Contemporary Visual Art from the International Academy of Art Palestine 2017. He simultaneously completed an MFA from Bard College, NY 2019, and an MA in Art Education from the School of the Art Institute of Chicago, IL 2018.

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From 2003-2022 Mershani focused her subject on Palestine/Israel and photographed nearly every aspect of life under occupation. These photographs cannot be seen in mainstream media and have been in multiple publications, as well as many Internet news sites over the years, to further the awareness of the ongoing non-violent grassroots movement.

As founder of Project Souarna (our photos) Mershani conducted a photography workshop in 2009 for refugee and displaced Arab youth living in and near al Wehdat refugee camp in Amman, Jordan. The project brought together Palestinian, Iraqi, bidun Kuwaiti, and Sudanese youth with international photographers and artists to create a body of work that expressed the situation of youth living in the region.

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Committed to transnational and transdisciplinary collaboration, she has been involved in several major international research projects. Currently, she is PI of Imagining Institutions Otherwise: Art, Politics and State Transformation (IMAGINART) and co-PI of the NWA project ‘Pressing Matter: Ownership, Value and the Question of Colonial Heritage in Museums‘, as well as a member of the Trans-Atlantic Platform for Social Innovation’s ‘Worlding Public Cultures’ network.

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Sabri explores the concept of celebration as a method of resistance through her organization, Dear Gaza 501(c)(3), which from 2015-2019 curated programing, most notably through an annual block party, which provided a platform for artists to engage in a public celebration of Palestinian culture in a context that was never imagined before. Her programming has been supported by The Walker Art Center, The Minnesota State Arts Board, and the Metropolitan Regional Arts Council. Sabri was selected for the Jerome Early Career Printmakers Residency at Highpoint Center for Printmaking in Minneapolis from 2019-2020.

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Over the past fifteen years, Sébastien Hendrickx has been active as a playwright for NTGent, Toneelhuis and KVS, an art critic for different magazines and a teacher at KASK/School of Arts in Ghent. He is currently doing artistic research at KASK on cosmograms, which are objects representing cosmologies or total worldviews. From 2014 to 2022 he was part of the editorial team of the theatre magazine Etcetera. As an activist he was involved with Extinction Rebellion and initiated campaigns Het Burgerparlement on democratic innovation, and More Than Enough on post-growth policies.

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Recent solo shows include The Breeder Gallery, Athens, Blenheim Walk Gallery, Leeds and SixtyEight Art Institute, Copenhagen among others. Goni holds a bachelor’s and a master’s degree in social and cultural anthropology, as well as in fine and digital arts.

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Based in Austria, where her works are part of the Federal Artothek; Severios has been awarded the Mentoring-Program-Kunst alumni scholarship of the Academy of Fine Arts Vienna (2022) and the Kunsthalle Wien Prize (2021). She graduated from the Vienna Academy of Fine Arts, spent a year at ASFA Athens, as well as residences in Beirut and Los Angeles.

Exhibitions include SZIPE’s parallel Exhibition, Shenzhen (2022), Handspells. Kunsthalle Wien Prize (2021), The Use of Landscape en Galeria Posibilă (2021).

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Otta has a master’s degree in cultural studies and completed a PhD program at the Academy of Fine Arts, Vienna. She is a former artist-in-residence of Gapado AiR, Capacete and Sommerakademie im Zentrum Paul Klee, among others. She co-founded the artist collective Bisagra in Lima, the ecofeminist collective Mouries in Athens and coordinated the curatorial team that made the permanent exhibition at Lugar de la Memoria, la Tolerancia y la Inclusión Social in Lima.

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She is a cultural producer, curator and image maker from the Netherlands by way of Oromia, Ethiopia. In her research and artistic practice, she is interested in Afrodiasporic archives, especially in Horn of African contexts. Other research areas explore the perception of Islamic visual arts in Africa.

Through her self-initiated project, Oromia Records, she conducts ongoing artistic research that engages with cultural, historical and artistic materials of the Oromo. Through long-term projects guided by a critical lens, the platform aims to offer a new approach to the study of Oromo cultural heritage within the context of Ethiopia and diaspora.

In 2020, she co-founded the Association for Black Art_ists e.V., a platform that works to support Black artists and archivists in Europe. The organisation has produced numerous projects and artistic experiences in Germany and the Netherlands. From 2022 to 2023, she was a guest fellow at PACT Zollverein, allowing her to gain time and space to further develop her artistic practice.

She has given and moderated talks and workshops about Black Archives and Archiving while Black in various locations including the Internationales Frauen* Film Fest, Institute of Art History of University of Zurich and AfroDiaspora 2.0 e.V.

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Metahaven’s film works include Capture (2022), Chaos Theory (2021), Hometown (2018), Eurasia (Questions on Happiness) (2018), and Information Skies (2016). Their books include PSYOP: An Anthology (2018, co-edited by Karen Archey), Digital Tarkovsky (2018), and Uncorporate Identity (2010, edited with Marina Vishmidt).

The Feeling Sonnets (Transitional Object) (2024) is Metahaven’s forthcoming film on poetry and AI, based on a poetry collection by Eugene Ostashevsky. Metahaven’s new book, on the future of the beholder’s share in art, is out with Verso in Spring 2025.

Metahaven has presented solo exhibitions at MoMA PS1, New York, Guggenheim Museum Bilbao, ICA London, Stedelijk Museum Amsterdam, Yerba Buena Center for the Arts, San Francisco, Asakusa, Tokyo, Izolyatsia, Kyiv, e-flux, New York, Tick Tack, Antwerp, and State of Concept Athens, among others, as well as participated in group exhibitions at Artists Space, New York, the Museum of Modern Art Warsaw, the Gwangju Biennale, the Sharjah Biennial, the Busan Bienniale, Ghost:2561, Bangkok, and many others.

Metahaven are artistic advisors at Rijksakademie, affiliate researchers at Antikythera, and heads of department at the Master Geo-Design at Design Academy Eindhoven (DAE).

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Paula Albuquerque’s practice questions the legitimacy of archives that create social stereotypes, which still haunt the contemporary social fabric. Assembling historical and contemporary moving image and photographic materials, she analyses how they support politics of dispossession and discriminating racialised and gendered representation

For her latest solo exhibition Colonised Landscapes and Spectral Deterritorialised Flora (2024) at Zone2Source in Amsterdam, Albuquerque focuses on the portrayal of the colonised landscape in formerly occupied territories, alongside the role of early film as a form of proto-surveillance in sustaining and perpetuating colonial structures. The material is drawn from the Eye Film Museum archive, including home movies made between 1912 and 1940 in the former East and West Indies, which depicts Dutch settlers’ journeys that shaped how the Netherlands perceived its overseas territories.

As an artist, Paula Albuquerque has had several solo exhibitions to her name, including: galleries Zone2Source (2024); Bradwolff Projects (2023, 2018, 2015), Looiersgracht 60 (2023) and Nieuw Dakota (2020). Her films have been presented at International Film Festivals DocLisboa (2023), Sheffield DOC|Fest (2020) and IFFR Rotterdam (2016).

She presented papers at conferences Media in Transition at MIT; NECSUS Conference; and Visible Evidence. She published the books Enter the Ghost – Haunted Media Ecologies (2020) and The Webcam as an Emerging Cinematic Medium (2018).

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From 2009 to 2018 he was financial director of If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution. Before he worked at VocaalLAB, De Kiss Moves, Dance Unit, Suzy Blok, Dansgroep Krisztina de Chatel, Karin Post and Dries van der Post, Will Spoor, Jeannette van Steen, Leine & Roebana, Karina Holla, Tyatro Festivali, Tango Magia Festival. .

Hans Schamlé was interim director of the DOD (Directie Overleg Dans, de brancheorganisatie voor de dans), the trade organization for dance in 2005-2006. At the Amsterdam Fund for the Arts he was an advisor for the disciplines of dance, mime and theater. Hans Schamlé was chairman of the Cultural Committee of the Amsterdam East District (2013-2018) and active as a board member at Cinedans, Lima, De Zaak Nu and Stichting Het Hem. Since 2023 he is part of the Supervisory Board of Framer Framed in Amsterdam.

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Maja Bekan is a performance and visual artist based in Rotterdam and Den Haag. Bekan’s work explores and questions mediation and delegation of artwork production. The protagonists of Bekan’s work are often women: artists, activists, students, retirees, and people seeking a place for them- selves in difficult circumstances. She is interested in a collaborative and social approach to explore personal histories, truths, economies and social relations. The protagonists of Bekan’s work are often women: artists, activists, students, retirees, and people seeking a place for themselves in difficult circumstances. Bekan works on long-term research-based projects that involve different levels of collaboration, presented to the public in the form of performances, site-specific environments, and video/audio/text-based installations. She was artist in residence at ISCP New York, Delfina Foundation London, AIR Laboratory (U-jazdowski) Warsaw, IFP Beijing China and AIR Berlin Alexanderplatz. She has exhibited work at Badischer Kunstverein, Karlsruhe, Tent, Rotterdam, ISCP New York, Ujazdowski Castle Centre for Contemporary Art, Warsaw; Kunsthaus, Graz; Van Abbemuseum, Eindhoven, Melly (former Witte de With) Rotterdam, Casco Art Institute among others.

www.majabekan.com

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Angela Serino is a visual art curator, writer, and researcher based in Amsterdam who has worked with artists-in-residencies programs in various roles for more than a decade. She was the curator of Residencies as Learning Environments (International Meeting of Residencies, 2015), and has written about residencies and time for Kunstlicht’s Unpacking Residencies issue (2018) and DutchCulture|TransArtists’ magazine Station to Station #4 (2022). She is interested in individual and collective moments of research, self-reflection and learning around feminisms, ecological belonging and permacultures. In 2020 she co-founded ARRC, a collective that studies art residencies with fellow researchers Pau Catà (Barcelona), Morag Iles (Newcastle), Miriam La Rosa (Melbourne) and Patricia Healy Mcmeans (Minneapolis). Angela is an alumna of De Appel’s Curatorial Programme.

www.angelaserino.com

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Dina From Egypt is a lip-synching band that always performs its latest hit. Its model, which is based on a franchise, strives to achieve maximum celebrity status with minimum effort. Its core members are Bea McMahon, Dina Danish and Rumiko Hagiwara, who write the songs. These new recordings were made, arranged and produced at Treignac Projet in France. The performances are choreographed and lip-synched to the pre-recorded tracks. One of the more recent hits comes with a pop video and artists Deniz Buga and Dennis McNulty came to Treignac for these new productions. Since being founded in 2014, Dina from Egypt has involved many producers and performers, and has appeared at various venues.

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Kathrin Wolkowicz’s work ranges from performance, installation, objects and books to film and video, and is usually sparked by texts she writes herself or adapts from others. She constructs time-based or spatial situations that invite us to re-read our relationships with objects and bodies; how we dwell, spend our time and share space with others. A substantial part of Kathrin’s practice is working collectively, curating exhibitions and self-publishing.

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Alina Lupu was born and raised in Romania and works as a writer and post-conceptual artist in Amsterdam, the Netherlands. She is a general board member of Platform BK, an organisation that researches the role of art in society and advocates for a better art policy. She is also a student on the Master programme Photography and Society (KABK), and a former research fellow with the Lectorate Art and Spatial Praxis at the Rietveld Academie, where she examined artists’ role within processes of gentrification. Her work has been shown at: IMPAKT.NL, Utrecht; VHDG, Leeuwarden; W139, Amsterdam; Onomatopee, Eindhoven; Hotel Maria Kapel, Hoorn; Drugo More, Rijeka; Rheum Room, Basel; European Lab, Lyon; Rosa Luxemburg Stiftung, Berlin, and Goethe Institut, Bucharest.

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Manuela Zammit is a contemporary art historian, critic, and editor based between the Netherlands and Malta. She has recently graduated with a Research Master in Critical Studies in Art & Culture from Vrije Universiteit Amsterdam. Her thesis titled “Posthuman Corporealities: Encounters Within and Without the Self” focusses on contemporary artistic engagements with feminist (re)theorisations of the body and subjectivity. She previously completed a MFA in Contemporary Curating at Manchester Metropolitan University and is a regular contributor to the Dutch contemporary art magazine Metropolis M.

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Astrit Ismaili graduated with an MA DAS Theater from the Academy of Theatre and Dance in Amsterdam in 2016. They have received grants including the Mondriaan Fund Project Investment Grant in 2019 and the Young Visual Artists Awards in 2011. They have opened with a performance Manifesta 14, Pristina, and Athens Biennale and have shown work at the Stedelijk Museum, Amsterdam; KW Institute for Contemporary Art, Berlin; SALTS, Birsfelden; Impulstanz, Vienna, among others. They co-organized the performance project Prishtine Mon Amour and co-curated a number of Lost & Found, a series of events where artists, writers, scientists and musicians can introduce hybrid works that do not comfortably sit into galleries or museums.

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University of Fine Arts Hamburg (Dept of Art and Theory) and the Uniarts Helsinki (Theater Academy). Reza has also served as part of the Kyoto Experiment Japan Advisory team. Starting from the beginning of 2014, Reza will undertake his artistic research scholarship program at the Rijksakademie van Beeldende Kunsten, Amsterdam.

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She was an artist in residence at the Rijksakademie van Beeldende Kunsten, Amsterdam in 2015-16, and received the Pernod Ricard Fellowship in 2017. Solo exhibitions include Kunstverein Göttingen (2023); Sammlung Philara, Düsseldorf (2022); Kunstmuseum Liechtenstein, Vaduz (2022); Gasworks, London (2021); CAC Brétigny, Brétigny-sur-Orge (2021); Museion, Bolzano/Bozen (2020); Van Abbemuseum, Eindhoven (2019); CentroCentro, Madrid (2019); Museo de Arte Moderno de Buenos Aires (2018); and Móvil, Buenos Aires (2015). Her work has been featured at Seoul Museum of Art (2023); Fries Museum, Leeuwarden (2023); the Hannah Ryggen Triennale at Kunsthall Trondheim (2022); MAXXI Museum, Rome (2021); Busan Biennale (2020); Villa Vassilieff, Paris; REDCAT Gallery, Los Angeles; MACBA, Barcelona (all 2018); CA2M, Móstoles (2017); and the Irish Museum of Modern Art, Dublin (2014). Azpilicueta was nominated for the Prix de Rome 2021.

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Prior to her engagement with If I Can’t Dance, she worked for the Global Art and the Museum programme at the ZKM | Karlsruhe on a range of editorial and curatorial projects investigating the impact of globalization on the art world (2010–2013). As an independent curator, she has initiated long-term collaborative projects such as the VOLUME project (2013-14), a collective inquiry on the library led with 98weeks, Beirut, the web-publishing platform Unfold (since 2015), and Heterotropics (2018-19), a series of interventions on the traces of colonial history in the urban and cultural fabric of Amsterdam.

As a Fellow at the Van Abbemuseum, Eindhoven (2016-17), Sara Giannini worked on aphasic language and scoring in relation to the archive(s) of René Daniëls. In 2018 she was a Curator in Residence at the Bard College Centre for Curatorial Studies (NY), where she has done research on the relationship between ecstasy, hysteria and non-identity. With artist Jacopo Miliani, she co-authored Whispering Catastrophe. On the Language of Men Loving Men in Japan (SelfPleasurePublishing, Milan, 2018) and with If I Can’t Dance she published Maquillage as Meditation: Carmelo and the Undead ( 2021), a script of an absent event evoking the (not very benevolent) spirit of Italian actor, director and writer Carmelo Bene.

Sara held teaching positions at the Dutch Art Institute, KABK in The Hague, Das Arts, SNDO and Sandberg Instituut in Amsterdam. As a relatively new mother, she has become more and more interested in the questions posed by (the labour of) invisible performances. If life allows, one day she wishes to turn this interest into a research project titled Performances Not To Be Seen (courtesy Jeanette Ingberman & Exit Art, NYC).

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Joram Kraaijeveld is producent, curator, docent en schrijver en zet zich als zodanig in voor de positie van de kunstenaar en de waarde van de kunsten voor de samenleving. Hij werkt aan actieve vormen van solidariteit binnen en buiten de kunsten. Hij was betrokken bij de ontwikkeling van de Arbeidsmarktagenda voor de Culturele en Creatieve Sector 2021-2024, de richtlijn kunstenaarshonoraria en de Fair Practice Code. Namens Platform BK schreef hij samen met Bart Stuart het onderzoeksrapport Geen Stad Zonder Kunst over verschillende vormen van beheer van atelierpanden in Nederland.

Joram doceert kunsttheorie aan de Gerrit Rietveld Academie, waar hij ook voorzitter is van de Redactieraad voor Intercurriculaire Programma’s. Hij werkte als curator voor onder meer SMBA, Van Abbemuseum, De Brakke Grond & Museum Dr. Guislain, Schloss Ringenberg en Stedelijk Museum Amsterdam.

Zijn artikelen zijn gepubliceerd in o.a. Metropolis M, Boekman en Kunstlicht. Hij is voorzitter van vereniging Platform BK, commissielid van de CAWA en lid van wooncoöperatie Het Nieuwe Bajesdorp.

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Cherella Gessel, ook wel Chella Chella, is multidisciplinair artiest en model. Hen combineeert zowel teksttoneel als fysiek spel – in theater én film – met dans, rap, Spoken Word, modellenwerk, styling, haarstyling en make-up.

Cherella creëert altijd vanuit hun eigen referentiekader en persoonlijke onderwerpen en interesses. Zo was YONIVERSE – “Een theatraal hiphopconcert voor Black, Queer Bitches” – een solo waarin die op zoek ging naar healing van trauma’s door toedoen van de maatschappij en conflicten in hunzelf. Healing is een onderwerp wat hen aan het hart gaat en zoveel mogelijk terug laat komen in diens werk. In 2020 kreeg die een honourable mention voor hun deelname met YONIVERSE aan Fringe Festival en in 2021 ontving die zowel de 3 Package Deal als de Amsterdamprijs voor de Kunst, in de categorie Stimuleringsprijs.

In 2014 begon die hun carrière als acteur, waarbij die ontdekte dat theater de cohesie zou worden van alle disciplines bij elkaar. Vanuit hun eigen referentiekader begon die met het maken van losse scenes en performances en werd o.a. daarmee onderdeel van verschillende theater- en dansvoorstellingen. Bij o.a. platformen als DansLAB (Studio West), Jeugdtheaterschool Zuid-Oost (Bijlmerparktheater), DOX, Likeminds – The Factory, Talentlab (Bijlmerparktheater), de internationale Ballroom Scene, verschillende dansstudio’s/- docenten, L’École des Sables en Theatre Hotel Courage heeft hen veel kennis opgedaan als makende speler, regisseur, schrijver, spoken word artiest, experimentele danser, fysieke acteur en meer.

Verder was Cherella onder andere te zijn bij Maas Theater & Dans, Toneelmakerij, AYA, IDFA, Fashionweek Amsterdam & Parijs, KAF Almere, Frascati Producties, in verschillende (online) magazines en blogs, fashion- en muziekvideo’s, films, nationale en internationale fashion campagnes, tv- commercials, billboards en abri’s, in musea, exposities, theaters en poppodia in het hele land.

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Her practice delves into the colonial archive, seeing its complexity not only as an incredibly vast collection of objects and documents, but also understanding its position concerning personal history. She combines the use of the archived material and its historical position, determined by displacement, with its poetic performativity as a prompt to point to the historical record of the many colonised areas in the Global South. As Mirelle’s research expands and evolves, her work stands as a testament to her commitment to uncovering hidden histories and fostering dialogue around the power structures that shape graphic design, art history and society as a whole.

In 2022, she founded the magazine and publishing house Roots to Fruits, that explores the intersections between music, archives, and resistance. Roots to Fruits has been included in Printed Matter’s New York Art Book Fair (2022), Offprint London (2023), and the Melbourne Art Book Fair (2023).

In 2023 Mirelle van Tulder became the new Atelier KITLV-Framer Framed Artist in Residence. Artists in residence work on urgent topics at the intersection of art and culture, academic research, and scholarship in the field of Southeast Asian and/or Caribbean Studies, and in relation to (post)colonial theory and discourse.

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Aga is one half of the Co/Living: Points of Entry project, together with yourfriendkas. Kas and Aga have decided to collaborate on their project through their shared interest in collective living.

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