Director Zindzi Zwietering and Head of Exhibitions and Contest Samira Damato will provide insight into the inner workings of the organisation, its history and the annual contest. Zwietering and Damato will also shine a light on the curatorial concept behind this year’s exhibition, A Love Letter to Queer Resilience.

One of the participating photographers, Quetzal Maucci, will share more about her award-winning works, how she began her creative journey and how she developed her artistic and professional practices. Maucci will share the personal story behind her long-term project BY THE TIME SHE GROWS UP, which presents a personal exploration of her own family structure. Born in the USA, Maucci is the daughter of two queer women who migrated from Peru and Argentina respectively.

The exhibition is on show in het Oosterpark, Amsterdam until 25 July and will then move to the Westergasterrein, where it will be on display until 15 August.

Join us at Framer Framed for the speakers programme on 24 July and let us know you’re attending by signing up here!

This event is in English and free of charge.

Speakers

Quetzal Maucci (she/her) is a photographer, visual storyteller, and educator based in London, UK. In her work, Maucci combines visual documentary techniques with archival images, poetry, interviews and other various forms of intervention in order to challenge systemic values and social constructs. She seeks to create space for personal therapeutic processes while dismantling and exploring ideas surrounding immigration, connection, family dynamics, and identity.

Jan-Bert Vroege (he/him) is a Dutch politician. Both as a city council member for D66 and as administrator of Amsterdam Oost, he is known for his commitment to the LGBTQIA+ community. He has actively contributed to promoting equal rights and inclusiveness both in the city and within the party. Vroege has championed safe public spaces and better care for LGBTQIA+ individuals. He supports education programmes in schools to promote acceptance. He also advocates for inclusive policies and has supported several campaigns that increase the visibility of LGBTQIA+ people.

Christopher de Gast (he/him) and Marjan Schonenberg (she/her) have been collaborating as a photography duo since 2017. Their work highlights ordinary individuals whose stories need to be told, and creates approachable, down-to-earth portraiture. With every image, they want to contribute to a visual culture in which every human being regardless of gender, origin, shape or identity is equal and represented.

Moderator

Tuaca Kelly (she/her) is an American poet, spoken word artist, emcee, singer-songwriter and musician, most known for her unique wordplay, uncanny improvisation, unpredictable humor and ability to connect with the audience. Originally from San Francisco, she represents the Generation X as a fierce femmeDaddy. Based in Amsterdam, Tuaca is very active in poetry and spoken word culture and serves as a local and international project collaborator, talent curator, creative producer and muse with Stichting Unwanted Words Project.

Pride Photo in Oosterpark (2024)

About Pride Photo

The post Pride Photo: A Love Letter to Queer Resilience appeared first on Framer Framed.

For this special afternoon reading session at Werkplaats Molenwijk, Golrokh and Ahmadali will share the many inspirations they have drawn from the neighbourhood and read parts of the book with Dutch, Farsi and Arabic translation. They will also speak about how they came to the format of a graphic novel, and how this residency experience continues to inform their recent projects and practices in different localities.

In her final week at Werkplaats Molenwijk, Golrokh composed a performance together with Ahmadali. With the delicately planned-out routes and spatial coordinates, the participants become part of a ‘movement’ while following the protagonist’s story and witnessing the large embroidery works unfold and unite before their eyes. The publication Walvistraan: A Love Story in a Time of Extinction and Isolation is a graphic novel taking the script of the performance as a fertile ground, sharing Molenwijk’s rich historical tapestry interwoven by activism, cultural diversity, and environmental change. It is a story of the resilience and unity of its inhabitants – human and non-human – amidst the forces of modernity, as they reclaim connections to their land of origin and history.

During the reading session, Golrokh and Ahmadali will share the many inspirations they have drawn from the neighbourhood. They will also speak about how they came to the format of a graphic novel, and how this residency experience continues to inform their recent projects and practices in different localities.

Join us on 26 July at Werkplaats Molenwijk and let us know you’re attending by signing up here.

Purchase the copy for a special price during this community event or order the book online here.

This event is in English and free of charge.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Reading Walvistraan in Werkplaats Molenwijk appeared first on Framer Framed.

We regret to inform you that the first workshop on 9 July is cancelled but an additional meeting has been rescheduled for 30 July. Please note that the subsequent workshop dates on 16 and 23 July are going ahead as planned.

In Arpilleras Workshop Cycle: Refuge and Textile Memories participants will learn how to reevaluate their own experiences and knowledge while awakening their creativity, recognising and admiring the Arpilleras’ capacity to create meaningful and profound dialogues and concrete actions. These dialogues and actions are threaded in the fabric and narrate the struggles, resistances and dreams of their creators with determination and without fear.

You don’t need to be an expert in textile art or embroidery to participate, you just need to be willing to learn and be inspired by this powerful textile technique. Practically, participants will learn basic techniques of composition, colour combinations and stitches, so that they can make their own textile pieces inspired by the Arpilleras. At the end of the cycle of workshops, each participant will have designed and made their own Arpillera (30 x 25 cm).

Arpilleras Workshop Cycle: Refuge and Textile Memories seeks that participants feel confident to bring personal and collective memories, experiences and hopes to answer: What does refuge mean to us? Where is refuge located? What is it and how does it feel? Who are those that make us feel safe and loved? And most importantly, how can we collectively ensure refuge to all?

About

Monet Barraza Madariaga is, among other things, a textile artisan residing in Amsterdam. Her textile language is embroidery and textile recycling, especially through Arpilleras. She is passionate about sharing and spreading this knowledge, facilitating meetings and workshops.

La Javi Textil is an artist and textile artisan residing in Amsterdam. She dedicates herself to the realisation of textile art workshops, as well as her personal work embroidering images and themes inspired by the flora and fauna of South America, the astronomy and the cosmovision of native peoples.

Both organisers belong to the textile collective Warmi Küyen, based in Amsterdam New West in the artistic community of 1800 Roeden.

9 July, 18:00—21:00 -> this session is cancelled.
16 July, 18:00—21:00
23 July, 18:00—21:00

Rescheduled session: 30 July, 18:00—21:00

This event is in English and free of charge.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Arpilleras Workshop Cycle: Refuge and Textile Memories appeared first on Framer Framed.

Places are limited, register for the workshop here.

Marcela Varconte is an Afro-Indigenous Black woman born in São Paulo. She is a social scientist, researcher and activist against environmental racism and for climate justice. She has extensive experience in social research, affective mappings, conflict mediation and cultural interventions in affected areas. Her research ‘Rupturas e continuidades de uma comunidade Negra‘ led her to projects focusing on peripheral black youth, genderstudies, Quilombola population and reparation movements.

Varconte 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.

During the workshop and discussion, Varconte will share cases of immaterial and ancestral damages that cannot be legally recognised, community challenges of ongoing reparative policies and the importance of art and cultural activities in the lives of Quilombola and Indigenous communities in the struggle for climate justice.

Varconte will share insights into the process of engaging with affected communities and how activists work to transform individual accounts into material for the fight for total reparations, compensation and the implementation of collective rights, centralising the voices of those affected. Sounds interesting? Sign up here to attend!

This event is in English and free of charge. A donation at the door is appreciated.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Ancestral Damages: Demanding Climate Reparations appeared first on Framer Framed.

In summer 2023, Framer Framed welcomed Golrokh Nafisi for an art residency together with her long-term collaborator Ahmadali Kadivar at Werkplaats Molenwijk, a communal space located in Amsterdam-Noord, where artists are invited for a period to share and develop their practice with the local community. Throughout her stay, Golrokh not only immersed herself in the daily life of the neighbourhood, she also dug deep into the multi-layered human and non-human histories in Molenwijk, which informed the prototype of her story, Walvistraan.

In her final week at Werkplaats Molenwijk, Golrokh composed a performance together with Ahmadali. With the delicately planned-out routes and spatial coordinates, the participants become part of a ‘movement’ while following the protagonist’s story and witnessing the large embroidery works unfold and unite before their eyes. The publication Walvistraan: A Love Story in a Time of Extinction and Isolation is a graphic novel taking the script of the performance as a fertile ground, sharing Molenwijk’s rich historical tapestry interwoven by activism, cultural diversity, and environmental change. It is a story of the resilience and unity of its inhabitants – human and non-human – amidst the forces of modernity, as they reclaim connections to their land of origin and history.

During the book launch, Golrokh and Ahmadali will share the many inspirations they have drawn from the neighbourhood. They will also speak about how they came to the format of a graphic novel, and how this residency experience continues to inform their recent projects and practices in different localities.

Purchase it during the launch event at a special price of €20!
Or, you can order the book online here: https://bit.ly/Walvistraan

Golrokh Nafisi and Ahmadali Kadivar, Walvistraan: A Love Story in a Time of Extinction and Isolation (2024). Image by Golrokh Nafisi, page 60-61

About

Golrokh Nafisi is a visual artist whose artistic practice involves designing alternative ways of documenting time and location, shaping a new imagination of time and space to give us direction in the present. Nafisi is interested in discovering new forms of collective action involving bodies and human ideologies.

Ahmadali Kadivar is a writer, researcher and the director of Sedākhāne, the most robust archive of folk music in Iran, building resources in understanding the literary, historical and anthropological aspects of folk music culture.

Authors: Golrokh Nafisi, Ahmadali Kadivar
Graphic Design: Oreri—Iniziativa Editoriale
Publisher: Framer Framed

ISBN: 9789083079387
Text and colour illustrations
Rrso-printed in a limited edition of 150 copies
Poster included
15 x 20 cm | paperback
English, 2024
Price: €25

Werkplaats Molenwijk is made possible by:
Amsterdams Fonds voor de Kunst, De Alliantie, Bank Giro Loterij Fonds en Stadsdeel Noord.

Werkplaats Molenwijk is an initiative by Framer Framed. Framer Framed is supported by Ministerie van Onderwijs, Cultuur en Wetenschap, Amsterdams Fonds voor de Kunst and Stadsdeel Oost.

The post Book Launch: Walvistraan appeared first on Framer Framed.

What influence does colonialism have on people and museums? And what is the importance of decolonial thinking in a turbulent world with evolving injustices and environmental crises? These questions and more will be explored during this special edition of the Maria Lugones Decolonial Summer School. The first two days of the programme will take place at Framer Framed, the second two days at the Van Abbemuseum in Eindhoven.

At the Van Abbemuseum you’ll be able to visit the recently opened exhibition Soils, with work by among others Valiana Aguilar, Pluriversity Weavers, Aldo Ramos, Rolando Vázquez, and patrica kaersenhout. The exhibition Soils is a plea to connect with the soil: the ground we live on. How do we take care of our soil, just as the soil cares for us? Soils offers insight into how artists from different parts of the world connect with the earth in their own ways. The exhibition embraces these differences. There is a vast amount of (intangible) knowledge about the soil. How can we learn from each other, support each other, and establish relationships? Relationships with the land, as well as with each other, take centre stage. Soil is on show between Jun 15 – Nov 24, 2024 at the Van Abbemuseum in Eindhoven.

To sign up for the Decolonial Summer School, you can use the links below the individual days.
The events at Farmer Framed are in English and free of charge.
A donation at the door is appreciated.

Moelyono, Tandak Samira (2023), on show at the Van Abbemuseum as part of the Soils exhibition

Programme

Ancestral Musings; a Caribbean Conversation
Tuesday 25 June | 16:00 – 18:00
Speakers:
Prof. dr. Gloria Wekker
Prof. dr. Jean Casimir
Location: Framer Framed, Amsterdam
Sign up here to attend!

Decolonial Feminisms
Wednesday 26 June | 16:00 – 18:00
Speakers:
Prof. dr. Rosalba Icaza
Valiana Aguilar, activist
Prof. dr. Catherine Walsh
Location: Framer Framed, Amsterdam
Sign up here to attend!

On the Coloniality of Thought (Inaugural Lecture)
Thursday 27 June | 16:30 – 18:00
Speakers:
Prof. dr. Rolando Vázquez Melken
Location: Aula – Old Lutheran Church, University of Amsterdam
This event will be live streamed; click here
No reservations are required to attend this event.

Honouring and Remembering BeBop
Friday 28 June | 16:00 – 18:00
Speakers:
patricia kaersenhout, Artist
Jeannette Ehlers, Artist and Performer
Prof. dr. Walter Mignolo
Location: Studio (Parliament), Van Abbemuseum, Eindhoven

The Soils exhibition
Saturday 29 June | 16:00 – 18:00
Speakers:
Charles Esche, Van Abbemuseum Director
Teresa Cos Rebollo, Van Abbemuseum Assistant Curator
Aldo Ramos, Artist
Prof. dr. Rolando Vázquez Melken
Ovidiu Tichindeleanu, Philosopher
Location: Studio (Parliament), Van Abbemuseum, Eindhoven

Decolonial Aesthesis
Sunday 30 June | 16:00 – 18:00
Speakers:
Philosopher Ovidiu Tichindeleanu
Fabian Barba, Dancer and Performer
Aldo Ramos, Artist
Location: Studio (Parliament), Van Abbemuseum, Eindhoven

For more information about the programmes at Van Abbemuseum, read here.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Decolonial Summer School: Celebrating 15 Years of the Maria Lugones Decolonial Summer School appeared first on Framer Framed.

Hoe beelden jonge kinderen hun fantasie uit? Sinds 2021 maakt het Kinderatelier bij Framer Framed deel uit van het meerjarig project De kunst van jonge kinderen, dat uitgevoerd wordt in samenwerking met stichting Toeval Gezocht – initiatiefnemer van het project – en twee basisscholen, Openbare Basisschool De Kaap en de Flevoparkschool. Op 18 juni wordt het Kinderatelier gepresenteerd om te tonen hoe het eigen onderzoek en creatieve maakproces van kinderen tot uiting kunnen komen, in het verlengde van de schoolse setting.

Binnen het project De kunst van jonge kinderen wordt onderzocht hoe de Reggio Emilia-werkwijze geïmplementeerd kan worden binnen het basisonderwijs en hoe deze werkwijze door te zetten in een buitenschoolse setting, in de educatieruimte van Framer Framed. Kunstenaars, bevo-docenten, leerkrachten van de school en het educatieteam van Framer Framed werden getraind in het Reggio Emilia-gedachtengoed en de werkwijze, waarin onderzoekend leren, verbeelding, eigenaarschap van de kinderen en hun creativiteit centraal staan.

Als onderdeel van De kunst van jonge kinderen, werd bij Framer Framed twee keer een Kinderatelier ingericht door Toeval Gezocht. Geïnspireerd door de tentoonstelling The One-Straw Revolution (2024), samengesteld door iLiana Fokianaki, stond het de afgelopen maanden in het teken van de natuur. Jonge kinderen van de groepen 1/2 en 3 van basisscholen uit de buurt werden uitgenodigd en aangemoedigd om zelf te ontdekken, onderzoeken en experimenteren met de verzamelde materialen in kinderatelier Natuur onder de Loep.

Op 18 juni wordt het Kinderatelier gepresenteerd om een indruk te krijgen van het eigen onderzoek waar kinderen mee aan de slag gingen en hoe dat werd vertaald naar beeldend werk. Bezoekende kinderen kunnen tijdens deze middag met hun ouders in onze educatieruimte nieuwe werken maken. Ook is er een film te zien waarin jonge kinderen van basisschool De Kaap een paar maanden zijn gevolgd in hun onderzoek naar hun eigen buurt.

Klik hier: Laat svp weten als je komt

Kinderatelier ‘Natuur onder de Loep‘ (2020). Foto: B. Ellialtioglu / Framer Framed

Kinderatelier ‘Natuur onder de Loep‘. Foto: B. Ellialtioglu / Framer Framed

Framer Framed wordt ondersteund door het Ministerie van Onderwijs, Cultuur en Wetenschap; Amsterdams Fonds voor de Kunst; Gemeente Amsterdam en VriendenLoterij Fonds.

The post Presentation: The Art of Young Children appeared first on Framer Framed.

Taking place each month at Framer Framed, the Queer Open Stage welcomes queer artists eager to share their work and find community. Since its beginning in 2023, the series has celebrated varied practices of storytelling, dancing, singing, comedy and lots more. Regardless how you express yourself, sign up to perform or simply drop by for a spot in the audience and enjoy the diverse talents our LGBTIQA+ community has to offer. Each edition also includes performances from invited participants.

This 11th edition is extra special because we are celebrating the first anniversary of Queer Open Stage. This edition also falls on the second day of Pride week in Amsterdam. Enough reason to look back on the past year and think about the future. What does it mean to be queer in a city like Amsterdam and what is the importance of finding a community in it? How can initiatives like the Queer Open Stage and Pride Amsterdam contribute to that?

The event itself is in English, but performances in all languages are welcome. If you are signing up to perform, please make sure to send your technical requirements. Note that we might not have all the equipment required. This event is free of charge, a donation at the door is appreciated.

Sign up to perform here!
Sign up to attend here!

Queer Open Stage: Act 3. Photo: © Bora Sekerci / Framer Framed

While we promote and support freedom of speech, our primary focus is to create a safe and inclusive environment where both performers and the audience feel at home and secure. Hence, we prohibit any forms of hate speech or targeted attacks on a community, group, or individual.

The event may be photographed and filmed. Please let us know in advance if you prefer not to have your picture taken.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Queer Open Stage: Act 11 appeared first on Framer Framed.

Synthetic Vision/Images of Power focuses on the unprecedented possibilities of AI in generating ‘synthetic vision’ (the ability to “see” algorithmically) and ‘synthetic image generation’ (the ability to create new images through prompts). These transformations affect three key dimensions of the image.

The first dimension, ‘image-truth’, explores the truth-value of images within contexts such as authentication or facial, emotion and crowd recognition. But it also concerns the generation of synthetic images to mimic reality in large datasets necessary to train other algorithms. The second exploration is focused on ‘image-evidence’, specifically addressing the capacity to recognise or generate images for evidentiary purposes. This dimension holds relevance in the realms of journalism, with considerations surrounding information, propaganda and the identification of fake news. It’s also of importance within the legal sphere, encompassing both the utilisation of images as judicial evidence and their role in event reconstruction. The third dimension lies in the figure of ‘image-labour’, such as computer vision as a result of visible and often invisible labour on the image by programmers, annotators and operators.

Synthetic Vision/Images of Power brings together scholars working with artistic or multimodal methods and artists whose work is approached from a research perspective. This interdisciplinary approach aims to explore how multiple regimes of knowledge production (conceptual, visual, procedural/code based) can complement a critical exploration of the issues at stake.

Sign up below to let us know you’re attending!

Programme

DAY 1: Thursday 27 June 2024

Sign up here to attend Day 1.

15:00 | Introduction by Francesco Ragazzi
15:30 | Opening Talk: Terror Element, Anna Engelhardt & Mark Cinkevich

16:00 – 18:30 | Mapping Synthetic Vision
16:00 | Mapping as a critical method for Security Vision, Francesco Ragazzi
16:20 | Documenting and Visualizing Unknowns and Uncertains in Security Vision, Francesco Luzzana, Erica Gargaglione
16:40 | Synthetic Battlefield in the Time of Dynamic Maps, Svitlana Matviyenko
17:00 | Cutting through algorithmic violence, Rocco Bellanova
17:20 | Discussion, chair: Donatella Della Ratta

DAY 2 : Friday 28 June 2024

Sign up here to attend Day 2.

9:30 – 12:00 | Synthetic Images in Conflict
09:30 | Tracklets: the synthetic present of movement tracking, Ruben van de Ven
09:50 | From AI to paper: de-materializing and re-materializing evidence, Kevin B. Lee
10:10 | Synthetic Realism: Exploring the Aesthetics and Politics of Generative AI in a time of widespread violence, Donatella Della Ratta
10:30 | AI in Gaza: Image-evidence, digital suspicion, colonial history, Adi Kuntsman and Rebecca Stein
10:50 | Discussion, chair: Francesco Ragazzi

AFTERNOON

13:00 – 15:30 | Strategies of Resistance
13:00 | AI to Subvert and Expose Evidence, Paolo Cirio
13:20 | Synthetic Vision for Subversion, Jonathan Luke Austin & Maevia Griffiths
13:40 | Image-Life, Shintaro Miyazaki
14:00 | Mobile Lies: A Kinopolitics of Emotion Datasets, Cyan Bae
14:20 | Discussion, chair: Rocco Bellanova

16:00 – 18:30 | Strategies of Resistance II
16:00 | A Tale of Two Data Centers, Marloes de Valk
16:20 | Permacomputing in the arts, Aymeric Mansoux
16:40 | Algorithmic accountability, Evaline Schot
17:00 |Social media: Catalysts or obstacles to war crimes investigations?, Maria Mingo
17:20 | Discussion, chair: Rebecca Stein
18:30 – 18:45 | Concluding remarks, Donatella Della Ratta

This event is in English and free of charge. A donation at the door is appreciated.

Credits

Synthetic Vision/Images of Power is co-convened by Francesco Ragazzi, Donatella della Ratta, Rocco Bellanova and Rebecca Stein. It has received funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme, SECURITY VISION (grant agreement No. 866535) and DATAUNION (ERC, grant agreement No. 101043213), ReCNTR: Leiden University’s Research Center on Multimodal and Audiovisual Methods in the social sciences, humanities and the arts.

Terror Element by Anna Engelhardt and Mark Cinkevich has been commissioned by Framer Framed with the support of the Nederlands Filmfonds and Stimuleringsfonds voor Creatieve Industrie as part of the collaborative project Immerse/Interact.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Synthetic Vision/Images of Power: Truth, Evidence, Labour & Knowledge in the Age of AI appeared first on Framer Framed.

In the exhibition Breaking Waves, Clara Jo researches myths and political entanglements around the distribution of disease across the Afrasian Sea (Indian Ocean), often recounted in ways that protect an imperialist narrative. Part of the exhibition is the Dutch premiere of the documentary fiction film Nests of Basalt, Nests of Wood, in which the artist combines 3D animation with filmed footage.

Clara Jo, who was the second Atelier KITLV-Framer Framed artist in residence. During her residency she produced a new film based on her research at the KITLV archives. The film will be on show at Framer Framed. The exhibition will be open between May 29 and 14 July 2024.

Workshop
Saturday 1 June, 14:00 – 16:00

Sign up here to attend the workshop!

The workshop is in English and free of charge.

Location
Framer Framed
Oranje-Vrijstaatkade 71
1093 KS, Amsterdam

The post Artist Tour & Workshop: Breaking Waves appeared first on Framer Framed.

Connecting the Dots explores the concept of ‘desire lines’ as articulated by writer and scholar Sara Ahmed in Queer Phenomenology: Orientations, Objects, Others. A term otherwise used in landscape architecture to denote unofficial paths or alternative routes, Ahmed’s repurposing of the term in queer theory marks the starting point for this publication.

Born in 2022, Amsterdam Dyke March aims to celebrate the spirituality of belonging among your community. They act in a longstanding and worldwide tradition, as Dyke Marches have historically been characterised by aspects of community outreach and mutual aid. Connecting the Dots ties into this by delving into diverse forms of infrastructure, spanning both historical and contemporary contexts.

By trying to understand the infrastructure of queer archives and by highlighting the desire to resist prevailing structures, Connecting the Dots explores desire lines in poetic as well as logistical ways. The publication was designed by Josefina Contin Zapata and includes texts by Alma van Woudenberg, Alva Roselius, Annette Rodriguez Fiorillo, Ari, Babette and Katja, Claudia, Parel Joy and Robin Izzy Cassar Fiott. After introducing the publication, there will be conversations about lesbian archives and activism, including a closing talk by the artist collective One State Collective.

Register here to let us know you’re attending!

Programme

19:00 | Welcome!
19:20 | Presentation of the publication by Alva, member of the Dyke March team and editor of the publication.
19:30 | Researching lesbian archives – a conversation with Pia Louwerens and Katinka van Gorkum.
19:50 | Conversation between Claudia and Alva from the Dyke March team about the lesbian squat at Sarphatistraat 39.
20:00 | One State Collective on organising and resting together.

This event is in English and free of charge.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Book launch: Connecting the Dots by Amsterdam Dyke March appeared first on Framer Framed.

Since the 1970s, social movements that include anti-colonial, feminist, queer and class have challenged the belief in linear progress, scientific rationality and a singular view of history. Truth claims can no longer be made without question. However, underlying many issues there is still a broad basis of scientific evidence. The ongoing shift in authority – with the questioning of the modernist ideal of progress and new takes on historical events – has brought with it uncertainty and unpredictability.

The rise of the 24-hour news cycle- and social media, the exploitation of public systems and the manipulation of data and opinions are key factors undermining belief in social progress and scientific rationality contributing to a widespread collapse of public trust in the institutions that are supposed to ‘know’.

At a time when populists and demagogues routinely denounce experts and expertise, a movement of interdisciplinary artists has emerged whose work unapologetically foregrounds knowledge, factual analysis and evidence. Spanning different generations – from emerging artists to others who have been active for decades – they have crystalised into a research-driven movement that one of the exhibition’s participating artists, Paolo Cirio, has dubbed ‘Evidential Realism’.

Really? Art and Knowledge in Time of Crisis includes but goes beyond works based on forensic methods, and historical studies – practices in which artists as civil actors participate in creating new ways of knowing. Central to Really? is the realisation that we are in the midst of a crisis in knowledge and a crisis in politics, which are one and the same thing. The exhibition aims to expand a space of practical reasoning, recognising that knowledge is not a zero-sum game. As much as we can and should validate facts in the public domain, we also need to learn to navigate when we are not knowing.

Sign up here to let us know you’re attending!

Curators:
Mi You
David Garcia

Participating Artists:
Paolo Cirio
Anna Engelhardt & Mark Cinkevich
Jennifer Gradecki & Derek Curry
Ho Tzu Nyen
Zheng Mahler
RIWAQ
UKRAiNATV

Exhibition Design:
Ruben Pater

Date & Time
22 June 2024 | 19:00 – 21:00
Music by Katayoun

This event is in English and free of charge.

Terror Element by Anna Engelhardt and Mark Cinkevich has been commissioned by Framer Framed with the support of the Nederlands Filmfonds and Stimuleringsfonds voor Creatieve Industrie as part of the collaborative project Immerse/Interact.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; VriendenLoterij Fonds; Netherlands Film Fund; and Creative Industries Fund NL.

The post Opening: Really? Art & Knowledge in Time of Crisis appeared first on Framer Framed.

On Wednesday 22 May at 16:00 a Zoom-conversation will take place with Jodi Dean, an American political theorist and professor in the Political Science department at Hobart and William Smith Colleges in New York state. Jodi Dean was ‘relieved of her teaching responsibilities’ on 13 April after she publicised an article on the blog of her publisher Verso. We will talk with her about the content of this article, in which she explicitly expresses the materiality of the Palestinian struggle for liberation.

On Thursday 23 May at 20:00 a Zoom-conversation will take place with Michael Hardt (the co-author, together with the late Toni Negri, of ‘Empire’) and Sandro Mezzadra. They recently wrote an article for the blog Sidecar of the New Left Review. In this article they put the struggle of the Palestinians for freedom and justice in the broader perspective of the global struggle for equality, emancipation and autonomy. We will talk to them about the suggestions they bring forward to reinvigorate this quest.

Location
Framer Framed
Oranje-Vrijstaatkade 71
1093 KS, Amsterdam

Free entry, a donation at the door is appreciated.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post In conversation with Jodi Dean, Michael Hardt and Sandro Mezzadra about student protests and Gaza appeared first on Framer Framed.

The publication researches the ideas and pedagogies of family embodiment practice, through queer and migrant perspectives. It is made with participants from the communities in Molenwijk, through an abundance of personal exchanges, interviews, and collective fabrication workshops.

A fantasy story will be the guiding voice during the performance. Led by a non-human, non-binary and migrating character – Wind(s). They will guide you into the “wind-scape” of the migrating stories, queer kinships and family wisdoms.

to M•Others is an artistic research project on the ideas of M(Other)ing, practice through creative publishing, queer pedagogy and community intersections.

The image is communicative designed by Noam Youngrak Son and editorial design by Cleo Tsw, made with Angèle, Enaam, Flora, Isa, Nardelly, Sonya, Sterre and Sun, during the collective workshop Mapping the Currents, Housing for Winds in Molenwijk.

This project is supported by AFK, Stimuleringsfonds, Mondriaan Fonds and the circular economy of to M•Others.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Creative Publication Launch: to M•Others #2 appeared first on Framer Framed.

The Pluriversity Weavers are a group focused on deconstructing colonial heritage through affirmative practices aimed at thinking in communality with living territory. With this open studio project they aimed to interweave their knowledge with that of the Iku community from Colombia, opening up to multiple co-existing knowledges and the need to respect different ways of living. Weaving a Pluriversity included gatherings and conversations with Indigenous thinkers to discuss the human connection with our environments through guided walks, collective weaving, a reading and film screenings.

The project kicked off on 13 April with an introductory open day. On 4, 11 and 18 May there were workshops and conversations with activities guided by spiritual leader Mamo Arwawiku and youth member Dwanimako Arroyo Izquierdo from the Iku community Kwarte Umuke from Sierra Nevada de Santa Marta, Colombia. On this closing day on 8 May, there will be a conversation between Mamo Arwawiku and Dr. Rolando Vázquez Melken, Professor of Post/Decolonial Theories and Literatures at the Amsterdam School for Cultural Analysis of the University of Amsterdam. There will be a translation from Spanish to English.

Weaving a Pluriversity will travel onwards to Soils, a group exhibition exploring the meaning of soil as both matter and metaphor at the Van Abbemuseum in Eindhoven.

This event is in Spanish and English and is free of charge.

Date & time
8 June 2024 | 14:00 – 17:00

Sign up here to let us know you’re attending!

Location
Framer Framed
Oranje-Vrijstaatkade 71
1093 KS, Amsterdam

Acknowledgements

Weaving a Pluriversity is a prelude to the forthcoming exhibition Soils at Van Abbemuseum in Eindhoven. Weaving a Pluriversity is presented in collaboration with Van Abbemuseum.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Weaving a Pluriversity: Conversation between Mamo Arwawiku and Rolando Vázquez Melken appeared first on Framer Framed.

With the backdrop of our current exhibition The One-Straw Revolution, which explores care for living with others and tangible forms of co-existence, we are urged to delve into artistic practices surrounding similar themes. Queer environmental embodiment: UÝRA – The Rising Forest addresses interspecies kinship and explores the intersection of worlds, corporealities and practices of remembrance and embodiment.

The evening will begin with the screening of UÝRA – The Rising Forest (2022), an award-winning feature documentary about the activist and educational artistic practices of Uýra Sodoma (she/her). By combining drag with forest elements such as leaves, flowers, seeds, branches and straw, Uýra fosters deep interconnections between land struggles and the fight for queer rights in Brazil. Through this performative art practice, she encourages others to connect with their own bodies, histories and corporealities in powerful and transformative ways. The film also opens up an honest and raw space for Uýra to share her own processes of self-discovery as a trans-Indigenous person. Whilst growing up within a familial and social context of erasure and obscuring of those identities, she also experienced the reality of deforestation and growing disconnection to the forest and to embodied ancestrality.

After the screening, artists Ada M. Patterson (she/her) and Nene Moné (they/them) will join this evening’s programme for a conversation within the context of Uýra’s work. Ada is a visual artist, writer and educator from Barbados working with masquerade, textiles, performance, video and poetry. She is also currently a core tutor at Planetary Poetics, a master’s programme in collaboration with Dorine van Meel and Framer Framed at the Sandberg Institute. Joining her in the talk is Nene Moné, a transdisciplinary artist, activist and researcher from Chile who works on social and environmental justice issues. Their conversation will include a Q&A and an exchange regarding themes of queerness, embodied practices, performance, environmental activism and land struggle. Afterwards, Nene Moné will offer a sound performance, marking the end of this evening’s gathering.

Programme

18:30 | Screening of UÝRA – The Rising Forest (70 minutes, Portuguese spoken with English subtitles)
20:00 | Conversation between Ada M. Patterson and Nene Moné with a Q&A
20:30 | Sound performance by Nene Moné (10/15 minutes)

Date & time
Wednesday 15 May 2024
18:30-21:00

Location
Framer Framed
Oranje-Vrijstaatkade 71
1093 KS, Amsterdam

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds. 

The post Queer environmental embodiment: UÝRA - The Rising Forest appeared first on Framer Framed.

On 17 May, the evening begins with two screenings of artist duo Latent Community, including the short film NEROMANNA, which is based on the story of the Kallio settlement in Fokida. This village in Greece was flooded in the creation of the Mornos dam, a reservoir for the city of Athens. Following the screenings, Latent Community will discuss the work and their broader practice in a conversation with curator and researcher Angeliki Tzortzakaki.

After that, curator of The One-Straw Revolution, iLiana Fokianaki, will be in conversation with artists Eliana Otta and Peng Zhang. Otta is one of the participating artists in the exhibition with her installation Beatriz and the Sacred Hole (2023) where we hear stories from the family of Mauro Pío, a leader in the Peruvian Indigenous community Nuevo Amanecer Hawai who was assassinated in 2013.

During the finissage, Otta will enter into a dialogue with Amsterdam-based artist Peng Zhang. Informed by his rural upbringing, his practice focuses on relationships to and around land. Zhang recently finished residencies at the Rijksakademie van beeldende kunsten (Amsterdam) and Grasland Ezinge (Groningen). He is currently participating in a residency with Het Groene Veld in Amsterdam-Noord.

Closing the exhibition together with these artists, we examine how artistic practices which take influence from permacultural thinking naturally unfold through their entanglements with the ecologies and communities of the sites in which they are rooted.

Programme

17:00  | Walk in & drinks
17:15   | Screening of NEROMANNA & Tropical Hell
Conversation with Latent Community and Angeliki Tzortzakaki
18:30 | Panel discussion with Eliana Otta and Peng Zhang, moderated by iLiana Fokianaki

This event is in English and free of charge.

Sign up to let us know you’re attending here!

Date & time
Friday 17 May | 17:00-20:00

Location
Framer Framed
Oranje-Vrijstaatkade 71
1093 KS, Amsterdam

With thanks to State of Concept Athens.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds. 

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Taking place each month at Framer Framed, the Queer Open Stage welcomes queer artists eager to share their work and find community. Since its beginning in 2023, the series has celebrated varied practices of storytelling, dancing, singing, comedy and lots more. Regardless how you express yourself, sign up to perform or simply drop by for a spot in the audience and enjoy the diverse talents our LGBTQIA+ community has to offer. Each edition also includes performances from invited participants.

Sign up to perform here!
Sign up to attend here!

The event itself is in English, but performances in all languages are welcome. If you are signing up to perform, please make sure to send your technical requirements. Note that we might not have all the equipment required. This event is free of charge.

While we promote and support freedom of speech, our primary focus is to create a safe and inclusive environment where both performers and the audience feel at home and secure. Hence, we prohibit any forms of hate speech or targeted attacks on a community, group, or individual.

The event may be photographed and filmed. Please let us know in advance if you prefer not to have your picture taken.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Queer Open Stage: Act 10 appeared first on Framer Framed.

Programme at Framer Framed | 4 May

During the book launch at Framer Framed, artist Yornel J. Martínez Elías and researcher and poet Nanne Timmer will both reflect on their experiences as co-convener and one of the contributors of the project. By relating their recent practices with the concept of the publication, the conversation will explore how residencies create spaces to learn about divergent social, political contexts, and nurture new kinds of communities as well as long-term relationships between people and places. The events will be moderated by researcher and editor Emily Shin-Jie Lee with a Spanish-English translation by Nanne Timmer.

17:00 – 17:10 | Introduction and welcoming words by Emily Shin-Jie Lee
17:10 – 17:30 | Conversation with Nanne Timmer
17:30 – 18:00 | Conversation with Yornel J. Martínez
18:00 – 18:30 | Q&A and drinks

This event is in English and free of charge.

Register for the launch event at Framer Framed here!

Programme at Limestone Books | 5 May

During the book launch in Maastricht, the designer of the publication and co-founder of Limestone Books, Chen Jhen, will give a presentation. After that, Jhen and Yornel will discuss the process of materialising the project in the format of a publication and how the book relates to the wider ecosystem of the Jan van Eyck Academie and alternative ways of publishing and distributing books.

15:00 – 15:10 | Introduction and welcoming words
15:10 – 15:30 | Presentation Chen Jhen
15:30 – 16:00 | Conversation with Yornel J. Martínez
16:00 – 16:30 | Q&A and drinks

The book launch follows the Taiwanese launch at the Taipei International Book Exhibition (TiBE) in February 2024 and Artist Takeover: ‘Archipelagic Affects’ by Yornel J. Martínez Elías at the Limestone Bookstore in September 2023.

About the book

Conceived by Yornel J. Martínez Elías, researcher Emily Shin-Jie Lee, and in collaboration with Taiwanese novelist Huang Chong-Kai, Archipelagic Affects interweaves visual and textual materials created in different time-spaces. Together they form a shared travelogue that documents how cultures and worlds cross paths through an art residency experience.

Reflecting on how words connect worlds, and how publishing practices generate new content and correlations, the booklet highlights the importance of art residencies in creating new confluences and solidarity networks to sustain cultural production and dissemination within and beyond national boundaries. If we consider an art residency as an island where a group of strangers from different backgrounds temporarily inhabit, how can these unfamiliar strangers make their time together meaningful, and perhaps further create an archipelago of solidarity beyond geographical boundaries after leaving the island?

Order the book online here, or purchase it during the launch event!

Contributors
Authors: Yornel J. Martínez Elías, Huang Chong-Kai, Emily Shin-Jie Lee
Editor: Emily Shin-Jie Lee
Design: Chen Jhen (Limestone Bookstore)

Publishers
Framer Framed, Amsterdam
The Jan van Eyck Academie, Maastricht

Specifications
€15
152 pp.
Soft cover
Riso-printed at the Jan van Eyck Academie print workshop
Limited edition of 200 copies
10×15 cm.
English/Spanish, 2024
ISBN 978-90-83079-36-3

This book results from the Archipelagic Affects project, jointly conceived and supported by Cuban artist Yornel J. Martínez Elias and Framer Framed, in collaboration with the Jan van Eyck Academie. Designed by Limestone Books co-founder and designer Chen Jhen, the publication was also realised with generous support from The Netherlands Office, Taipei.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Book Launch: Archipelagic Affects appeared first on Framer Framed.

If the Democratic Republic of Congo is an invention, how can it be free? The country provides a large array of key mineral resources to the world for the ‘technological progress’ or energy transition of the current postmodern era. Its condition and fate are therefore inextricably linked to global politics.

The Planetary Poetics programme, in partnership with Atelier Picha, has probed the lasting and extended extraction zone of cultural and techno-political relations that keep the country in dire circumstances. During the course of this seminar, Atelier Picha’s coordinator Jean-Sylvain Tshilumba Mukendi invited students to collectively and artistically come up with a critical, engaged and holistic frame of action that takes into account the interrelated and planetary relevance of the matter, from extraction to waste (management).

Gather with us for a moment of restitution, exchange and transmission in solidarity with the millions of displaced, diggers and war victims in the Democratic Republic of Congo.

Location
Framer Framed
Oranje-Vrijstaatkade 71
1093 KS, Amsterdam

Planetary Poetics is a master’s programme at the Sandberg Institute that enables participants to develop artistic research exploring key concepts of the ecological crisis, including questions of climate justice, land restitution and reparations, reproductive justice, and constellations of co-resistance. Planetary Poetics is and initiative of Dorine van Meel and Framer Framed.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Counter-extractivism: Poetics of remedy and transmission appeared first on Framer Framed.

The bean zine is a publication entirely devoted to the bean and the sense of community it can embody. Beans are a nutritious and filling staple food, but in their humility often overlooked. The stories in bean zine address more positive attributes to the bean, such as familiarity, safety, nostalgia and a sense of security. Seeing as beans are a staple in many food cultures, Jessie Breslau and Elise de Jong researched the different ways in which beans offer nourishment – in both a literal and figurative sense. Their research resulted in the publication of bean zine, which aims to share the positive feelings associated with beans. The recipes and stories in bean zine can be read as either light-hearted or more serious instructions on how to take care of yourself and others through the creation of a meal.

bean zine is the first publication by the land, an experiment that weaves together agroecological and community building practices. With this project, Breslau and de Jong aim to build relationships through and around food in the form of workshops, dinners and events. During the launch event the founders will offer an overview of their labour, delving deeper into their collective practice and ethos. Agriculturalist Luke Stark will offer a reading of his own work and Breslau and de Jong will offer readings of works by Antonio Vincenzo Sotgiu, Jean Ni and Cassidy McKenna, writer and researcher Juliana Gallego and designer Sophia Dorfsman. Visitors can also enjoy some bean-based snacks, made from recipes in the zine. Donations are appreciated, but not obligatory.

Sign up here!

Agenda

18:00 – 18:30 | Welcome
18:30 – 19:15 | Reading
19:15 – 20:00 | Snacks and drinks

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Launch: bean zine appeared first on Framer Framed.

Framer Framed will be launching a new online archive and we want to share the infrastructure with artists, cultural workers, collectives and community archives. In the pilot programme Archiving the Present we aim to create a manual for archiving and preparing the collection based on the use cases of the participants.

The workshops will be guided by Mariana Lanari, who together with graphic designer Remco van Bladel is co-founder of Archival Consciousness. They collaborate with libraries and cultural archives to implement methods and infrastructure to turn their physical collection into data.

Workshops
Starting on 31 May, participants will meet every two weeks to work on their archives, while also leaving space for individual work between sessions. We’re looking for dedicated and hard-working participants who feel the urgency and importance of archiving and want to know how to translate their archives into data. This workshop series aims to bring together like-minded ‘archivists’ who can engage in conversation and engage on presenting an archive.

Throughout Archiving the Present, we will approach the archive as a system, and work layer by layer. We begin with the humble ‘character’ – the smallest element in computation but an essential base element of the archive model. Then we move to the word, the sentence, the page, the book, the collection and finally the architecture of the archive. At the end of the series the group will return to an overview of data collection, curation and preparation. Archiving has no end, but by the final workshop we will cover the entire lifecycle of data. Each participant will have their own model and give a final presentation of their work-in-progress archives.

Are you a cultural archivist looking to gain digital skills and work with data? Or do you have your own archive or archival project and need a new burst of motivation? Do you want to develop your technical, ethical and editorial skills in relation to archiving?

Schedule
Friday 31 May
Friday 14 June
Thursday 4 July
Friday 12 July 

Location
Framer Framed
Oranje-Vrijstaatkade 71
1093 KS, Amsterdam

Acknowledgements

This workshop series is part of the project InnovatieLabs 2: Archiving the Present in collaboration with Framer Framed, Archival Consciousness and Jan van Eyck Academie.

InnovatieLabs is supported by Stimuleringsfonds Creatieve Industrie and CLICKNL.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Workshop: Archiving the Present appeared first on Framer Framed.

During multiple sessions, the Pluriversity Weavers will create a temporal space for dialogue with participants in Amsterdam to practice other ways of learning and to touch upon the need to protect ancestral knowledge. The Pluriversity Weavers are a group focused on deconstructing colonial heritage through affirmative practices aimed at thinking in communality with living territory. With this open studio project they wish to interweave their knowledge with that of the Iku people from Colombia, opening up to multiple co-existing knowledges and the need to respect different ways of living.

Weaving a Pluriversity begins on 13 April 2024 with an introductory open day to explore the interconnectedness between human thought and the living territory, with a focus on remembering our connection to Earth. On 4, 11 and 18 May 2024, there will be workshops and conversations with activities guided by spiritual leader Mamo Arwawiku and youth member Dwanimako Arroyo Izquierdo from the Iku community Kwarte Umuke from Sierra Nevada de Santa Marta, Colombia. On the closing day, Mamo Arwawiku and Rolando Vázquez Melken, professor of Post/Decolonial Theories and Literatures, will have a conversation.

The results of these gatherings will travel onwards to Soils, a group exhibition exploring the meaning of soil as both matter and metaphor at the Van Abbemuseum in Eindhoven.

Sessions

Saturday 13 April 2024 | 15:00 – 17:00
Opening studio day of Weaving a Pluriversity.
Sign up here.

Saturday 4 May 2024 | 14:00 – 17:00
Semi-public workshop: Reading session and short film The Black Line Journey. 

Saturday 11 May 2024 | 14:00 – 17:00
Semi-public workshop: Film screening Resistance in the black line and conversation.

Saturday 18 May 2024 | 14:00 – 17:00
Weaving workshop with women members from the Iku community.

Date to be announced |
Closing day: a conversation between Mamo Arwawiku and Rolando Vázquez Melken (with a translation from Spanish to English).

Location
Framer Framed
Oranje-Vrijstaatkade 71
1093 KS, Amsterdam

Acknowledgements

Weaving a Pluriversity is a prelude to the forthcoming exhibition Soils at Van Abbemuseum in Eindhoven. Weaving a Pluriversity is presented in collaboration with Van Abbemuseum.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Open Studio: Weaving a Pluriversity appeared first on Framer Framed.

“Homies is a fashion line sparked by fighting injustices. Homies is a fashion line that explores the notions of home, from the perspective of being without a home. It is a fashion line inspired by memories related to homes left behind, and by the search for a new place to land. Homies is about how friends can become a substitute to survive feelings of not being grounded. Homies is a way out of the misery. Homies is a home in itself.”

Join us on Monday 15 April from 17:30-19:30 for a festive ending to match this playful and colourful fashion line. During the finissage we also celebrate that We Sell Reality has reached its fundraising goal for their space at Grond, their new home in Bajesdorp, Amsterdam. It is the final chance to browse the collection, which mixes different styles with an unapologetic freedom that is a testimony of resilience. The collection’s designs are a representation of solidarity with all who are displaced.

Everyone who purchased an item from the store during the opening event is encouraged to pick up their items during the finissage and join in the celebration.

Sign up to let us know you’re attending here!

Date & time
Monday 15 April | 17:30-19:30

Location
Framer Framed
Oranje-Vrijstaatkade 71
1093 KS, Amsterdam

Acknowledgements

Homies was developed during a guest residency at the Rijksakademie of We Sell Reality, Wouter van der Laan and Esther Meijer under the umbrella of the collaborative project Artistic Ecologies, set up by WHW (Zagreb), Moabit (Berlin) and de Rijksakademie (Amsterdam).

Homies is made possible by the European Union, Vriendenloterij Fonds, Amsterdams Fonds voor de Kunst, de Rijksakademie and Framer Framed.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Finissage: Homies appeared first on Framer Framed.

Taking place each month at Framer Framed, the Queer Open Stage welcomes queer artists eager to share their work and find community. Since its beginning in 2023, the series has celebrated varied practices of storytelling, dancing, singing, comedy and lots more. Regardless how you express yourself, sign up to perform or simply drop by for a spot in the audience and enjoy the diverse talents our LGBTQIA+ community has to offer. Each edition also includes performances from invited participants.

Sign up to perform here!
Sign up to attend here!

The event itself is in English, but performances in all languages are welcome. If you are signing up to perform, please make sure to send your technical requirements. Note that we might not have all the equipment required. This event is free of charge.

While we promote and support freedom of speech, our primary focus is to create a safe and inclusive environment where both performers and the audience feel at home and secure. Hence, we prohibit any forms of hate speech or targeted attacks on a community, group, or individual.

The event may be photographed and filmed. Please let us know in advance if you prefer not to have your picture taken.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Queer Open Stage: Act 9 appeared first on Framer Framed.

To cross a river or a path, I need the person who came before me. He can show me where to set foot. He knows if the river is deep or not, if the path I’m taking is mortal or not.

Sarah Ndele is a visual and performance artist who lives and works in Kinshasa, in the Democratic Republic of Congo. Her work questions the memory, the roots and the present of the Bakongo people in the west of the DRC. It is based on exploring what has been lost and finding ways to reconnect to her ancestors: “If I draw on Yombé works, it’s not just to find a style or develop a singular style of writing, but it’s also a personal process: to nurture my roots, which are gradually dissipating. The more generations pass, the more history fades.”

The workshop series Maintaining the Root offers different exercises that explore the practice of ‘rooting’, which Sarah Ndele has been developing in light of the numerous losses her people have dealt with due to violent forms of colonisation in the past and present. An example of this is the loss of local languages, including the script of Luzitu – a term that means ‘intense respect’ in the artist’s mother tongue Kiyombé. Throughout the workshops, she will share her work as a performance artist, a workshop organiser, and as one of the organisers of the yearly performance festival Kin-Etelemi-Telemi in Kinshasa. Participants will work towards a final collective performance, which takes place on 8 May 2024 and is open to the public.

Workshop dates
17 April | 15:00 – 17:00
24 April | 15:00 – 17:00
1 May | 15:00 – 17:00

Final performance
8 May | 18:00 – 19:30

Acknowledgments
Maintaining the Root is organised as part of a collaboration between Planetary Poetics, a master’s programme exploring key concepts of the ecological crisis hosted in collaboration with Framer Framed and Dorine van Meel at the Sandberg Institute in Amsterdam, and Picha, an independent art initiative that seeks to promote artistic creation in the Democratic Republic of Congo (DRC). Sarah Ndele’s research period and project in the Netherlands is generously funded by the DOEN Foundation.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

Location
Framer Framed
Oranje-Vrijstaatkade 71
1093 KS, Amsterdam

The post Workshop: Maintaining the Root appeared first on Framer Framed.

Questioning social norms and other gender stereotypes through storytelling, the Art of Freedom project creates a space for expression and collaboration, which may assist in building a sense of agency in the participants. Art of Freedom will select 10-12 participants between 18 and 30 years old who belong to different backgrounds and identities. With the guidance of an artist, they will (re)create their own narratives of gender and identity through the use of artistic tools such as comics and zine-making. The resulting work, which will be presented in a final closing showcase, aims to strengthen public awareness around the social implications of the experiences of similar people who come from conflict-affected communities or have been displaced.

Workshop schedule

Tuesday 16 April 
17:00 – 17:30 Welcome and introductions
18:10 – 19:00 Comic jam

Wednesday 17 April 
17:00 – 18:00 Drawing exercise on freedom and resistance
18:10 – 19:00 Sharing stories on gender, art and peace-building

Thursday 18 April 
17:30 – 19:00 Zine-making workshop

Are you interested in art? Would you like to attend three workshops where you will be supported in articulating and expressing your ideas, thoughts and narratives through storytelling? Sign up via this form.

Selected participants will be contacted by Art of Freedom.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Workshop: Art of Freedom appeared first on Framer Framed.

Op onze locatie in Oost beschikken wij over een educatieruimte waar wij activiteiten organiseren voor kinderen en jongeren. De ruimte wordt 1 á 2 keer per jaar ingericht als kinderatelier, met wisselende onderwerpen die liggen binnen de thematiek van Framer Framed. Momenteel is het kinderatelier gewijd aan de levende natuur. Het is ontworpen and ingericht door stichting TOEVAL GEZOCHT in het kader van ons samenwerkingsproject De kunst van jonge kinderen. 

In deze inrichting mogen kunnen van 3 tot 8 jaar zelf de natuur onderzoeken en verbeelden. Natuurlijke materialen uit de directe omgeving zijn verzameld en inspireren om onder een loep te bestuderen, te tekenen of in klei te boetseren. Hoe bijzonder is een uienschil in combinatie met een takje of grashalm? Hoe mooi is een herfstblaadje onder een loep?

In ons kinderatelier mogen kinderen zelf onderzoeken en experimenteren met de materialen die er liggen. Dat maakt dat kinderen autonomie en zeggenschap hebben in hun eigen leerproces. Door telkens een nieuwe inrichting te kiezen wordt het leerproces elke keer opnieuw uitnodigend en betekenisvol gemaakt. Met het beschikbaar maken van verschillende materialen om mee te werken, willen wij kinderen uitnodigen hun eigen verhaal te verbeelden en zo expressie te geven aan hoe zij de wereld beleven.

Kinderatelier Natuur onder de Loep, dat tot stand is gekomen in samenwerking met stichting TOEVAL GEZOCHT en loopt tot juni 2024. 

Voor scholen
Wij ontvangen graag groepen kinderen van scholen of andere organisaties voor een ateliersessie in ons kinderatelier.
Voor meer info, zie Framer Framed educatie. Of reserveer direct via: educatie@framerframed.nl

Voor ouders
Gedurende Amsterdam Art Week organiseren wij op 2 juni tussen 12.00-15.00 een inloop workshop in het Kinderatelier.

The post Children's Atelier: Through the Lens of Nature appeared first on Framer Framed.

Our understandings of the non-human are strongly influenced and changed by life experience, geography, and culture. These personal and fragmented perspectives play a crucial role in how we coexist with the world around us – creating relations with a more-than-human world which is inherently ‘natural’ to our planet and at the same time inextricably shaped by human interventions and perspectives.

From Rites to Rights: Imagining Ecologies of Tomorrow brings together the Cycle 3 cohort of CAREC to reflect on cultural constructs of the non-human and how these are changing in the age of climate catastrophe. The cohort’s 12 artists and 5 mentors hail from across the world, and each practitioner’s practice engages with human–non-human relationships in distinct ways. For some, this process involves nurturing a sense of spirituality or ancestral practice closely tied to the well-being of the Earth. For others, the focus falls on future technologies. Within the group, these varying processes of engaging with ecosystems converge, and perspectives and experiences from the past intersect with future possibilities. The encounter of various practices and sources of knowledge guides us in our collective imagining of the more-than-human worlds of tomorrow and fostering of more sustainable and ecological futures.

Registrations are now full. If you haven’t signed up, you are still welcome to attend but we cannot guarantee a seat.

Programme

17:30 – 18:00 | Welcome
18:00 – 18:45 | Non-human, rites, and rights

Moderator: Brigitte Baptiste

A conversation about how and why we as humans select particular aspects of an ecosystem to understand our positionality within it and as the basis for ritual practices – influencing our behaviours and reinforcing cultural relationships and values.

18:45 – 19.:30 | Habitat to a plant

Moderator: Benji Boyadgian

A conversation about how artists, acting as ‘ecological narrators’, envision and influence our perception of habitats and our relationships with humans and ‘extra-humans’ at various scales and in various forms.

19:30 – 20:00 | Rituals for the Emerging Natures

A collective performance.

About CAREC

This event is part of Cultural & Artistic Responses to the Environmental Crisis (CAREC), a year-long programme aimed at accelerating engaged community-based cultural practices with a focus on climate justice that acknowledges the social, political and economic dimensions of the environmental crisis. Through this programme, the Prince Claus Fund and the Goethe Institut create an interdisciplinary platform to support critical artistic work, stimulate cross-disciplinary exchange, and centre non-hegemonic forms of knowledge to envision alternative models of climate justice.

Participating artists and mentors

Benji Boyadgian | mentor
Brigitte Baptiste | mentor
Dan Li | artist
Federico Zukerfeld (Etcétera Collective) | mentor
Irene Agrivina | mentor
Lapdiang Syem | artist
Loreto Garín Guzman (Etcétera Collective) | mentor
Marianne Fahmy | artist
Mohamed Sleiman | artist
Monica Naranjo Uribe | artist
Nana Opoku (Afroscope) | artist
Nova Ruth | artist
Sharon Chin | artist
Sofia Acosta | artist
Tareq Khalaf | artist
Zayaan Khan | artist
Yara Costa | artist

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post From Rites to Rights: Imagining Ecologies of Tomorrow appeared first on Framer Framed.

Clara Jo, who was the second Atelier KITLV-Framer Framed artist in residence will present the outcome of her research at the KITLV archive. In the exhibition Breaking Waves, Clara Jo researches myths and political entanglements around the distribution of disease across the Afrasian Sea (Indian Ocean), often recounted in ways that protect an imperialist narrative. Part of the exhibition is the Dutch premiere of the documentary fiction film Nests of Basalt, Nests of Wood, in which she combines 3D animation with filmed footage. During her residency she produced this new film based on her research at the KITLV archives. The film will be on show at Framer Framed. The exhibition will be open between 29 May and 28 July 2024.

Opening
Wednesday 29 May 2024,
16:00 – 19:00

Workshop
On 1 June, 14:00 — 16:00, Clara Jo will organise a guided tour and a workshop about her research on archival materials. During the workshop, Clara Jo will share the creative process on how she translated both personal and official archival materials into her final film Nests of Basalt, Nests of Wood. Participants are welcomed to bring an object or image from their own personal archive as a starting point to think through the feelings, sensations, and memories evoked. The workshops are in English and free of charge.

Location
Framer Framed
Oranje-Vrijstaatkade 71
1093 KS, Amsterdam

Opening times
29 May – 28 July 2024
Tuesday – Sunday, 12:00-18:00
Free entry

The post Opening: Breaking Waves appeared first on Framer Framed.

Werkplaats Molenwijk komt deze lente weer tot bloei! We starten op 29 maart met samen eten in de lente. De Molenwijk door elkaar-groep kookt heerlijke gerechten voor ons en we staan stil bij wat er elke maand bloeit in de wijk.

Op vrijdag 29 maart, 26 april, en 31 mei ben je welkom in Werkplaats Molenwijk, die speciaal voor Molenwijk Bloeit omgetoverd wordt tot een buurtkeuken waar iedereen welkom is voor een goed gesprek en de gezelligheid van je buren. Kom aanschuiven en geniet van maandelijks wisselende gerechten.

Werkplaats Molenwijk is de tweede projectruimte van Framer Framed, gelegen in Amsterdam-Noord. Het is een plek waar veel ruimte is voor samenwerking en ontmoeting tussen kunstenaars en buurtbewoners, maar ook tussen buurtbewoners onder elkaar. Bezoekers kunnen zelf programma’s initiëren, met elkaar in gesprek gaan én samen eten, zoals eerder bij Soep in de Molenwijk.

Wanneer?
Vrijdag 29 maart, 26 april en 31 mei 2024
17:00 – 19:00

Waar?
Werkplaats Molenwijk
Molenaarsweg 3
1035 EE  Amsterdam

Framer Framed wordt ondersteund door het Ministerie van Onderwijs, Cultuur en Wetenschap; Amsterdams Fonds voor de Kunst; Gemeente Amsterdam en VriendenLoterij Fonds.

The post Molenwijk bloeit appeared first on Framer Framed.

In A Blow to the Snake Here, published by Indigenous Solidarity with Palestine, Leanne Betasamosake Simpson reflects on parallels between Palestinians’ daily practices of resistance against settler colonialism, and Indigenous cultures of resistance in North America and elsewhere, calling for solidarity to end the occupation and colonisation of Palestine. As part of her residency at the Academy of Theatre and Dance in Amsterdam (ATD), Framer Framed welcomes Leanne Betasamosake Simpson for a conversation with Palestinian artists Samah Hijawi and Yazan Khalili, in which they will touch upon the different and intimately related struggles for liberation.

Indigenous Solidarity with Palestine (2023). Photo: John Paille

Leanne Betasamosake Simpson is a Michi Saagiig Nishnaabeg writer, musician, academic and activist whose work engages with Indigenous ontology and resistance. Her residency at ATD addresses the need to bring Indigenous knowledge and perspectives into art, education and research in the Netherlands.

Samah Hijawi is a Palestinian multimedia artist, writer and researcher, who recently completed a PhD in which she explored deconstructing colonial representations of Palestine through performance and collage. In 2023 she joined as a tutor of DAS Theatre at the Academy of Theatre and Dance, Amsterdam.

Also joining the conversation is Yazan Khalili, an artist, architect and activist who lives and works in Palestine and Amsterdam. Currently a PhD candidate at the Amsterdam School for Cultural Analysis (ASCA), Khalili’s work focuses on unpacking historically constructed landscapes, using photography, drawings and the written word.

The talk is moderated by Sara Giannini, programme curator with the Amsterdam-based arts organisation If I Can’t Dance, I Don’t Want to Be Part of Your Revolution.

Registrations are now full. If you haven’t signed up, you are still welcome to attend but we cannot guarantee a seat.

The conversation is organised in collaboration with Amsterdam School for Heritage, Memory and Material Culture; Stichting Aralez; Lectorate, Academy of Theatre and Dance, Amsterdam University of the Arts (ATD); and AIR program (ATD).

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post A Blow to the Snake Here: A conversation around Indigenous and Palestinian struggles appeared first on Framer Framed.

The 2024 Taipei International Book Exhibition (TIBE) will take place from 20 to 25 February at the Taipei World Trade Center. This year, the theme of the exhibition is Catch the Reading Wave, featuring the Netherlands as the Guest of Honour Country. Framer Framed is honoured to launch Archipelagic Affects in the Dutch Pavilion alongside a diverse group of acclaimed Dutch writers and illustrators, who will deliver a host of talks and workshops throughout the exhibition period.

During the first launch event of Archipelagic Affects, the contributors will share their literary inspirations as well as the various activities and journeys in Taiwan, Cuba and the Netherlands that informed the content and the design of the book.

Speakers

Huang Chong-Kai, Chen Jhen and Emily Shin-Jie Lee.

Book Launch

22 Feb, 11:45 – 12:45 (GMT)
Entrance with ticket

Location

Taipei World Trade Center
1F., No.5, Sec. 5, Xinyi Rd., Taipei City, Taiwan

About

If we consider an art residency as an island where a group of strangers from different backgrounds temporarily inhabit, how can these unfamiliar strangers make their time together meaningful, and perhaps further create an archipelago of solidarity beyond geographical boundaries after leaving the island?

— Archipelagic Affects, Introduction

Archipelagic Affects explores how art residencies nurture effective spaces to study the tangible and intangible cultural, historical and geopolitical connections between different island countries. The project is co-conceived by the Jan van Eyck Academie alumni (2022-2023) Yornel J. Martínez Elías and Framer Framed researcher Emily Shin-Jie Lee, in collaboration with Taiwanese novelist Huang Chong-Kai.

Interweaving visual materials, dialogues, and stories created by the participants in different times and spaces, Archipelagic Affects documents the process of encountering different islands/languages as a result of an artistic residency, and explores the ways in which literature connects different worlds and how publishing practices create new connections.

Archipelagic Affects has two bilingual versions (Spanish/Chinese; Spanish/English). The Spanish/English version will be available in the Framer Framed store and webshop from 8 March

Pre-order the publication online!

 The book is designed by Limestone Books co-founder and designer Chen Jhen. The publication is co-published by Framer Framed and the Jan can Eyck Academie, with generous support by The Netherlands Office Taipei.

The post Book Launch: Archipelagic Affects appeared first on Framer Framed.

Taking place each month at Framer Framed, the Queer Open Stage welcomes queer artists eager to share their work and find community. Since its beginning in 2023, the series has celebrated varied practices of storytelling, dancing, singing, comedy and lots more. Regardless how you express yourself, sign up to perform or simply drop by for a spot in the audience and enjoy the diverse talents our LGBTQIA+ community has to offer. Each edition also includes performances from invited participants.

Sign up to perform here!
Sign up to attend here!

The event itself is in English, but performances in all languages are welcome. If you are signing up to perform, please make sure to send your technical requirements. Note that we might not have all the equipment required. This event is free of charge.

While we promote and support freedom of speech, our primary focus is to create a safe and inclusive environment where both performers and the audience feel at home and secure. Hence, we prohibit any forms of hate speech or targeted attacks on a community, group, or individual.

The event may be photographed and filmed. Please let us know in advance if you prefer not to have your picture taken.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Queer Open Stage: Act 8 appeared first on Framer Framed.

The symposium initiated by the Teach-in Series workgroup of the Amsterdam School of Cultural Analysis (University of Amsterdam) on 23 March 2024 at Framer Framed attends to the arts and cultural heritage amid the ongoing genocide in Palestine. The symposium foregrounds the resilience and steadfastness of Palestinian artists, who hone their practices of archiving, witnessing, re-membering and reconstructing as tools of resistance. The accelerated destruction of treasured historical monuments, cultural centers and libraries and the day-to-day restrictions on artists and cultural activities represent a profound assault on the soul of a people, to which the world is yet to fully bear witness.

Programme

13:00 – 14:40
Panel Destruction and Restoration of Palestinian Heritage
Moderator: Chiara de Cesari
Speakers:
Arna Mačkić,
Ali T. As’ad and
Khaldun Bshara.

15:00 – 15:30
Sound Performance: Karmel Sabri
Moderator: Qais Assali

15:30 – 17:30
Panel Visualising Resistance as Artistic Practice: Recognising Palestinian Life
Moderator: Ilga Minjon
Speakers:
Aisha Mershani,
Qais Assali and
Karmel Sabri.

Location
Framer Framed
Oranje-Vrijstaatkade 71
1093 KS, Amsterdam

The symposium is supported by Decolonial Futures and the Amsterdam School for Heritage, Memory and Material Culture at the University of Amsterdam.

Register here

Other Gatherings

Performance: Caer Ascendiendo (Fall Ascending)
Wednesday, 20 March 2024
Location: De Appel
Full programme: Housewarming: Activations for a new location

Symposium: On artist-run solidarity platforms
Thursday, 21 March and Friday 22 March 2024
Location: Kunsthal Gent, Belgium
Full programme: Artist-run Solidarity Platforms

UvA teach-in: Witnessing Palestine Through Art
1-3pm, Friday, 22 March 2024
Location: University of Amsterdam, UvA OMHP D.008
With: Aisha Mershani,
Qais Assali and
Karmel Sabri.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Symposium: Stressing Solidarity - Witnessing Palestine through Art and Architecture appeared first on Framer Framed.

In Moddertong, a kaleidoscopic narrative evokes the everyday life of a community in an unspecified time and place. The performance, in which a narrator sits with the audience in a circle, portrays how everything is magically connected: the sun, plants, animals, people and man-made things. Gradually, a tragicomedy unfolds in which countless creatures support and thwart each other. Influenced by continuous research and ever-changing circumstances, Sébastien Hendrickx keeps on making new versions of the same performance. Moddertong follows his debut performance The Good Life (2021).

Moddertong is organised as part of the seminar series Science and Action, developed by researcher Jorrit Smit on the politics of planetary and climate knowledge production. The seminars take place as part of Planetary Poetics, a master’s programme hosted in collaboration with Framer Framed at the Sandberg Institute, Amsterdam, that enables participants to develop artistic research while exploring key concepts of the ecological crisis. This includes questions of climate justice, land restitution and reparations, reproductive justice, and constellations of co-resistance.

Credits & Acknowledgments

Text, Performance & Scenography: Sébastien Hendrickx
Coach: Willem de Wolf
Production Support: De Kunstenwerkplaats & myotherwork.wordpress.com
Research Support: KASK/School of Arts
Residencies: De Monty, De Grote Post, Workspacebrussels, C-Takt, WP-Zimmer, De Kunstenwerkplaats, KAAP
Co-production: C-Takt, Viernulvier
Thanks to: Katrien Stragier, Jan Ritsema

Planetary Poetics is developed in collaboration with Framer Framed. Moddertong is kindly supported by VUB Crosstalks.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Performance: Moddertong appeared first on Framer Framed.

How can we become a good ancestor, honour the land on which we live and restore its agency?

In the afternoon of 27 Febaruary, Indonesian artist Ismal Muntaha and students of the master programme Planetary Poetics, will conclude a series of collaborative seminars through the organisation of an Ancestral Assembly. The assembly aims to create a multisensorial space to consider multiple perspectives, both human as well as more-than-human, as a collective articulation in the process of landscape-making and development. The event includes contributions by activist Raki Ap (Free West Papua Campaign), poet Khairani Barokka, artists Reinaart Vanhoe & Mariëlle Verdijk (ook_huis), and curator Getrude Flentge.

The project is informed by the context in which Muntaha lives and works, Jatiwangi, that has seen a new industrial wave in the last 5 years. Various multinational factories such as Nike, Puma, Gucci and DKNY have slowly moved their production centers to Jatiwangi. And the daily activities of the community, which were previously concentrated in roof tile factories or rice fields, have begun to shift to these new factories and entails thousands of workers, both local residents and immigrants from other cities.

As part of the artist collective Jatiwangi art Factory, Muntaha has been involved in proposing new relationships to land through artistic practices in various forms such as terracotta, festivals, exhibitions and new rituals. That land, which for hundreds of years has been so vital to Jatiwangi’s economy and understood only as an economic commodity, is given a new meaning that never existed before, land as a cultural identity. Jatiwangi art Factory is actively inviting citizens into this process, in order to collectively return agency to the land. Muntaha has brought these question to the students of the Sandberg Institute, and with this event extends them to a larger audience.

With contributions by
Ismal Muntaha, Arthur Guilleminot, Bethany Copsey, Eshwari Ramsali, Finn Maätita, Hinne Vos, Imke Hullmann, Lucila Pacheco Dehne, Marik de Koning, Naomi Kreitman, Olivia D’ Cruz, Tirza Balk, Toni Steffens, Raki Ap, Khairani Barokka, Reinaart Vanhoe, Mariëlle Verdijk and Getrude Flentge.

This programme is supported by the DOEN Foundation.

Planetary Poetics is a master’s programme at the Sandberg Institute that enables participants to develop artistic research exploring key concepts of the ecological crisis, including questions of climate justice, land restitution and reparations, reproductive justice, and constellations of co-resistance. Planetary Poetics is developed in collaboration with Framer Framed.

Public Assembly
27 feb 14:00-17:00
Free entrance

Location
Framer Framed
Oranje-Vrijstaatkade 71
1093 KS, Amsterdam

The post Planetary Poetics: Ancestral Assemblage appeared first on Framer Framed.

Queer Open Stage is a recurring showcase taking place at Framer Framed. Each edition features a set of performances from invited participants, and you’re welcome to take the stage too! Performers of all disciplines are welcome – whether you’re a singer, dancer, poet, comedian, or have another unique talent to showcase, this is your chance to shine and celebrate the richness of our LGBTQ+ community in Amsterdam.

This edition of the series is preceded by the workshop Archiving Personal Queer Stories. Workshop participants are welcome to stay for the Queer Open Stage!

While the event itself is in English, performances in all languages are welcome. If you’re signing up to perform, please let us know if you have any technical requirements. This event is in English and free of charge.

While we promote and support freedom of speech, our primary focus is to create a safe and inclusive environment where both performers and the audience feel at home and secure. Hence, we prohibit any forms of hate speech or targeted attacks on a community, group, or individual.

The event may be photographed and filmed. Please let us know in advance if you prefer not to have your picture taken.

The post Queer Open Stage: Act 7 appeared first on Framer Framed.

Magazine Launch
21 feb 19:00-21:00
Free entrance

Location
Framer Framed
Oranje-Vrijstaatkade 71
1093 KS, Amsterdam

The post Launch of new issue of Kunstlicht magazine appeared first on Framer Framed.

We are sorry to have to inform you this event is fully booked.

It is often unrecognised how valuable the everyday collective and personal experiences of queer people are. Often, queer histories are also not well documented. What does a specific medical care process look like for a trans person? Which people and places are remembered only in anecdotes and otherwise disappear? How do queer friendships change in the context of rising non-monogamy? Insights into what it means to be a queer person today can be found in everyday objects and stories that can be archived – if not for ourselves or descendants to remember then possibly for future institutional archives.

This workshop is intended to provide participants with impulses to start their own archive through various methodologies and to transform memories and knowledges into coherent narratives and objects. Participants can bring artifacts and memories that are important to them and are welcome to register with or without an idea of where to start.

After the workshop, participants are welcome to stay for the Queer Open Stage!

The post Workshop: Archiving Personal Queer Stories appeared first on Framer Framed.

Register here!
Audiences of different ages welcome.

Stories of Wounds and Wonder narrates cross-species practices of survival across the Indonesian archipelago, centring the perspectives of local animals such as endangered monkeys, cosmopolitan rats, migrant sparrows and fugitive dogs. Written in the form of a play, its six episodes ground the readers in the animals’ struggles and aspirations as they go about their daily lives and face the consequences of postcolonial erasure, ecological destruction and capitalist expansion. Intertwining different registers and modes of reading, the book combines dialogues, songs and drawings, with contextualising essays and an extensive notation.

As a script for intergenerational transmission, Stories of Wounds and Wonder is a tool to be performed together and in multiple ways. On the occasion of the book launch, the script is turned into a radio play performed live by Mercedes Azpilicueta, Astrit Ismaili, Nuraini Juliastuti, and Ratu R. Saraswati. Guided by the adventurous she/rat Puteri, children and adults alike can learn about cross-species solidarity and rebellious movements, but also about disappearing Indigenous cosmologies, and the brave women who wove cloths around the mountains in eco-political resistance.

This special reading is followed by a conversation between Juliastuti and architect, artist, and cultural producer Yazan Khalili. The conversation will touch upon the main themes of the book and their intersection with Khalili’s expansive practice, including anti-colonial knowledge production and community-based infrastructures, intergenerational publishing, drawing as research, and cross-species solidarity.

Taking place alongside a display companion to the book, this afternoon programme is hosted by If I Can’t Dance curator Sara Giannini and artist Reza Afisina, with music selection and groovy intermissions by Cempaka.

Broadcast on Radio Alhara

25 February 2024
13.00–16.00hr, Palestine time (+1 CET)

For all those far away or unable to attend live on the 17th February, the whole programme will be broadcast by Bethlehem-based Radio Alhara on the last day of the display companion.

Read more about the full programme at Framer Framed here.

You can purchase Stories of Wounds and Wonder at Framer Framed or via the If I Can’t Dance webshop

Acknowledgements

Stories of Wounds and Wonder is commissioned by If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution within the frame of Edition IX – Bodies and Technologies (2022-23). Its release closes the Edition IX Finale Programme, which took place between September 2023 and February 2024 across Amsterdam venues. If I Can’t Dance is financially supported by the Mondriaan Fund, AFK, Ammodo and Cultuurfonds.

The launch events are co-presented by If I Can’t Dance and Framer Framed and are generously supported by the project Worlding Public Cultures: The Arts and Social Innovation at the Amsterdam School of Cultural Analysis (ASCA), University of Amsterdam. Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Book Launch: Stories of Wounds and Wonder appeared first on Framer Framed.

Register here!

During this tour, Nuraini Juliastuti will give an introduction to the materials shown in the display companion of her children’s book Stories of Wounds and Wonder. Gathering a diverse collection of resources that inspired the publication -from texts to textiles and puppets – the display companion is also a homage to the libraries of the Indonesian rural communities Juliastuti calls the ‘commons museums’. As part of the visit, Juliastuti will present their important work of transmission and how it connects to her publication and wider research. In keeping with the spirit of these libraries, the tour also includes moments for copying and drawing together.

Read more about Stories of Wounds and Wonder and the display companion here.

Acknowledgements

Stories of Wounds and Wonder is commissioned by If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution within the frame of Edition IX – Bodies and Technologies (2022-23). Its release closes the Edition IX Finale Programme, which took place between September 2023 and February 2024 across Amsterdam venues. If I Can’t Dance is financially supported by the Mondriaan Fund, AFK, Ammodo and Cultuurfonds.

The launch events are co-presented by If I Can’t Dance and Framer Framed and are generously supported by the project Worlding Public Cultures: The Arts and Social Innovation at the Amsterdam School of Cultural Analysis (ASCA), University of Amsterdam. Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The post Guided Tour: Stories of Wounds and Wonder appeared first on Framer Framed.

Opening
Saturday 10 February, 19:00
Entrance is free. Register your attendance here.

During the opening, curator iLiana Fokianaki will introduce the exhibition and artist Nora Severios will be present to discuss her work.

About

The exhibition is inspired by The One-Straw Revolution: An Introduction to Natural Farming (1975), an influential book on ecological thought and practice. Written by Japanese farmer and philosopher Masanobu Fukuoka, the title refers to the technique of scattering straw in a field post-harvest, following Fukuoka’s philosophy of cultivating the earth with minimal waste and respect for preserving the balance of ecosystems. His work prompted scientists and scholars to coin the term ‘permaculture’ as a shorthand for “permanent culture” – a philosophy and practice that emphasises working in harmony with and not against the ecosystems that we are a part of and dependent on.

The One-Straw Revolution exhibition focuses on the core concepts that laid the foundation for the term permaculture: care for living with others, care for fair share. The participating artists pay homage to the main principles of Indigenous and feminist ecological thought and practice, which define sustainable ways of living and tangible forms of interspecies co-existence. Several artists focus on human disconnection from nature and our surroundings, highlighting the need to re-affirm our connections. Others trace the role of power systems and models of governance in the destruction of our environment and the disruption of interspecies kinships, as well as the corrosion of invaluable knowledge systems on ecosystem balance.

Location
Framer Framed
Oranje-Vrijstaatkade 71
1093 KS, Amsterdam

Opening times
11 Feb – 19 May
Tuesday – Sunday, 12:00-18:00
Free entry

With thanks to State of Concept Athens.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds. 

The post Opening: The One-Straw Revolution appeared first on Framer Framed.

Order the book online here, or purchase it during the launch event!
Register for the launch event here.

The war machine has picked up speed in the 21^st century. From Ukraine to Palestine, from Sudan to Yemen, and from Syria to Somalia millions of people are killed or wounded, and millions more are forced to flee. War crimes against peoples are also crimes against the ecosystems that they are part of: think of the effects of Agent Orange on Vietnam so many decades after the war, or the uses of white phosphorus on Palestinian land and people.

The Court for Intergenerational Climate Crimes (CICC) is a collaboration between Framer Framed, lawyer, academic, writer and activist Radha D’Souza and artist and propaganda researcher Jonas Staal that began in 2021 with the aim to prosecute climate crimes in the past, present and future. Ever since, the CICC has staged public hearings on crimes against peoples and their natures from Amsterdam to Gwangju. The CICC has insisted that crimes against people and nature are inseparable and stem from the same systemic causes.

During this call to action, D’Souza and Staal will speak to war crimes as climate crimes together with Muhammad Al-Kashef of the organization Watch the Med, who was a key witness in the 2021 case at the CICC Comrades Past, Present and Future versus Airbus. The verdict in the case will be presented for the first time as part of the CICC publication.

Editors
Radha D’Souza
Jonas Staal

Contributors
Stephanie Bailey
Tobias Dias
Radha D’Souza
Nicholas Hildyard
Joram Kraaijeveld
Rasigan Maharajh
Ashley Maum
Jonas Staal
Sharon H. Venne

Publisher
Framer Framed

Graphic design
Remco van Bladel

Info
ISBN: 9789083079349
424 blz.
Text and colour illustrations
16 x 23 cm | paperback
English, 2024
€29,95

This publication has been realised with thanks to multi-year support from the Dutch Ministry of Education, Culture and Science and the Amsterdam Fonds voor de Kunst. In additional, the publication was supported by the Stimuleringsfonds voor Creatieve Industrie within the InnovatieLabs project, The New Social: Hybrid Strategies for Cultural Spaces.

The post Book launch: CICC — War Crimes are Climate Crimes appeared first on Framer Framed.

This event is in English and free of charge.

Queer Open Stage is a recurring showcase taking place at Framer Framed. Each edition features a set of performances from invited participants, and you’re welcome to take the stage too! Performers of all disciplines are welcome – whether you’re a singer, dancer, poet, comedian, or have another unique talent to showcase, this is your chance to shine and celebrate the richness of our LGBTQ+ community in Amsterdam.

Register for the event here and if you’d like to perform, you can sign up via this link!

While the event itself is in English, performances in all languages are welcome. The event starts at 15:00 and ends at 17:00, so arrive early for the best seats.

Don’t miss the first event of 2024!

While we promote and support freedom of speech, our primary focus is to create a safe and inclusive environment where both performers and the audience feel at home and secure. Hence, we prohibit any forms of hate speech or targeted attacks on a community, group, or individual.

The event may be photographed and filmed. Please let us know in advance if you prefer not to have your picture taken.

The post Queer Open Stage: Act 6 appeared first on Framer Framed.

On this last day of the exhibition Samia Henni guides us through the exhibition Performing Colonial Toxicity (2023), providing background into her seven-year research on the subject of French nuclear colonialism in the Algerian Sahara and its ongoing effects. This thought-provoking exhibition, in collaboration with If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, delves into the history of nuclear experiments in Algeria’s Sahara desert and their long-lasting effects. Through immersive multimedia ‘stations’ that feature photographs, maps, and testimonies, Samia aims to tangibly demonstrate the invisible impacts of nuclear colonialism. She also emphasizes the need for justice and accountability for those affected by nuclear testing and the importance of addressing the health of individuals exposed to radiation in contaminated environments.

Henni will also provide more insight into the connections between the different components of the project including the forthcoming publication Colonial Toxicity: Researching French Radioactive Architecture and Landscape in the Sahara (2024).

January 14, 2024, 13:00h
This event is in English and free of charge.
A donation at the door is appreciated.

No chance to visit? Listen to our podcast with Samia Henni

The post Exhibition tour by architectural historian Samia Henni appeared first on Framer Framed.

As co-participants in If I Can’t Dance’s Edition IX – Bodies and Technologies biennial programme, Henni and Juliastuti both work through counter-archive practices. In their conversation, they reflect on their respective approaches to anticolonial and decolonial research methods and distribution strategies, as well as the broader thematic of ‘Bodies and Technologies’ in which their projects have been realised. The two are joined by If I Can’t Dance programme curators Sara Giannini and Megan Hoetger.

The conversation also marks the launch of Henni’s exciting new book Colonial Toxicity: Rehearsing French Radioactive Architecture and Landscape in the Sahara (2024), a co-publication of If I Can’t Dance, Framer Framed, and edition fink (Zurich). Conceived as an experimental printed repository in the spirit of Aby Warburg’s Bilderatlas, Colonial Toxicity traces the archival presences of the history of the French nuclear bomb programme in the Algerian Sahara (1960-1966) as they are marked by the offered and the leaked, the gaps, redactions, and low threshold copies. Through the discussion with Juliastuti, Henni offers an introduction to the experimental form of her book, as well as the performative propositions it makes towards speculative history writing and acts of rehearsing.

Order
You can order Colonial Toxicity: Rehearsing French Radioactive Architecture and Landscape in the Sahara through the Framer Framed webshop.

Read more about the exhibition here. We look forward to welcoming you to the finissage of the exhibition!

Credits

Performing Colonial Toxicity is a co-production of Framer Framed and If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution. The project is supported by Swiss Arts Council Pro Helvetia. Special thanks to the Observatoire des armements, Centre de documentation et de recherche sur la paix et les conflits; the Établissement de communication et de production audiovisuelle de la Défense (ECPAD); and to filmmakers Élisabeth Leuvrey and Larbi Benchiha with producer Farid Rezkallah for use of images and film excerpts in the exhibition; as well as to Prof. Dr. Roxanne Panchasi, Simon Fraser University for her support for the Tamasheq-to-French translation of Algerian testimonies.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

Acknowledgements

Samia Henni would like to extend her most sincere gratitude to Patrice Bouveret and the collaborators and partners of the Observatoire des armements; Larbi Benchiha, Bruno Hadjih, Elisabeth Leuvrey, Farid Rezkallah, as well as to Frédérique Bergholtz, Megan Hoetger, the extended If I Can’t Dance… team (Naomi Collier Broms, Sancha Castro, Anik Fournier, Sara Giannini, Bram Nijssen, Hans Schamlé, and Marcel van den Berg), Framer Framed team, and Swiss Art Council’s Pro Helvetia Foundation for their support of the project.

Deep thanks also go to the interviewees who have generously accepted to share their expertise and experience, including: Larbi Benchiha, Patrice Bouveret, Roland Desbordes, Bruno Hadjih, Gabrielle Hecht, Penelope Harvey, Jill Jarvis, and Roxanne Panchasi, as well as the translator-participants who have committed their time to translating Henni’s selection of testimonies, including: Raoul Audouin, Adel Ben Bella, Omar Berrada, Megan Brown, Séverine Chapelle, Simona Dvorák, Hanieh Fatouree, Alessandro Felicioli, Anik Fournier, Jill Jarvis, Augustin Jomier, Timothy Scott Johnson, Anna Jayne Kimmel, Corentin Lécine, Natasha Llorens, Miriam Matthiesen, Martine Neddam, M’hamed Oualdi, Roxanne Panchasi, and Alice Rougeaux.

And, finally, much appreciation to Marley Jaeda Barnes, Amina Belghiti, Samuel Fuchs, Floriane Germain, François Girard-Meunier, Maxime Groslambert, Pamela Hampton Hunsinger, Megan Gail Mueller, Caroline Ann O’Donnell, Roxanne Panchasi, Georg Rutishauser, Sabine Sarwa, Pascal Schwaighofer, Philip Ursprung, Oliver Wyss, Meejin Yoon, and all those who have over the years contributed to the development of this research and who asked to remain anonymous.

Image credit: Photograph by Bruno Barrillot, the co-founder of the Observatoire des armements in Lyon, France. The images were taken during a visit to France’s nuclear sites in Reggane and In Ekker in the Algerian Sahara, with the filmmaker Larbi Benchiha and his team in November 2007. Courtesy of Observatoire des armements.

The post Finissage: Performing Colonial Toxicity appeared first on Framer Framed.

The film spends time with residents of a village in Algeria’s Hoggar Mountains who live surrounded by ancient rock art and the legacy of France’s nuclear bombs. Examining time, toxic colonialism and how we survive the end of our world, the film departs from feminist thinker bell hooks articulation of a particular way of knowing that comes from experience: “it’s a deep understanding that is often expressed through the body, as what they know has been deeply inscribed on it.” What does it mean to live in such intimacy with toxic colonialism? What understanding is gained from this proximity?  How do people make sense of what happened to them? What are their ideas of justice? And finally, how do they find a way to carry on?

Aburawa and Shah join the evening for a post-screening discussion in which they’ll reflect on their interest in sonic landscapes, the modes of listening taken up in their film, and what is shared across their work and Henni’s multi-sensory exhibition.

Read more about the exhibition and its public programmes here.

The post Screening: And still, it remains appeared first on Framer Framed.

Op zaterdag 16 zaterdag bent u van harte welkom in Werkplaats Molenwijk voor een samenzijn vol warmte, nu het om ons heen weer kouder wordt.

De afgelopen weken heeft de Molenwijk door elkaar groep soepen, verhalen en recepten met elkaar gedeeld. En dat willen we graag met de buurt delen. Op 16 december kunt u proeven van heerlijke stomende soepen uit alle windstreken. Voor deze gelegenheid toveren we de Werkplaats om tot een gezellige gaarkeuken. Een plek waar iedereen welkom is voor een goed gesprek en de gezelligheid van je buren.

Dus: trek je warmste trui aan, nodig je buren uit en kom langs om je op te warmen met verhalen en soepen in Werkplaats Molenwijk.

Tot dan!

Wanneer?
Zaterdag 16 december
16:00 uur – 18:00 uur

Waar?
Werkplaats Molenwijk
Molenaarsweg 3
1035 EE  Amsterdam

The post Soup in the Molenwijk appeared first on Framer Framed.

Register here

This workshop invites participants to collectively engage with shared living situations. Using writing, discussion, lino-making, and mapping, participants in the workshop can explore ways of working, collectively imagine possibilities, and find commonalities in our many co/living contexts.

Communal living space is everywhere, even in an increasingly hyper-individualistic modern landscape. Building on the many existing ideas and practices of housing as commons, and the need to search for alternative forms of decommodified housing, the workshop aims to continue exploring the many sides of collective living, from financial and legal constraints to questions of the everyday.

How can we then think of collective living as an everyday practice? How can we learn from each other’s histories, feelings, associations, and ideas? What shapes our perception of what is possible, and what values do we want to see in the future?

The workshop is open to anyone willing to creatively participate in a collective discussion and create ideas for the everyday of co-living. No specific knowledge or predispositions are required.

School of Commons (SoC) is a global community-learning space dedicated to the study and development of self-organized knowledge through commons-based methods and practices, located at the Zurich University of the Arts but taking place mostly online. The structure of SoC brings together practitioners, researchers, facilitators, and activists from all disciplines for its main offering of a 10-month peer-led learning programme. Alongside the programme, SoC works with a broad network of partners who help to explore, shape and share the future of Peer Learning as an important strategy and method of lifelong learning.

Since 2017, SoC participants have led 140 transdisciplinary projects. The process and outcome of our research are shared via open-access publications, artistic platforms, workshops, talks, seminars, performances, and exhibitions around the world.

The post Workshop: Collectively imagining co/living situations appeared first on Framer Framed.

You are welcome to join us for a full programme that includes the presentation of artworks on sale, bidding, live performances, and drinks. Rijksakademie residents and alumni have contributed artworks that range from editioned or unique works, prototypes and sketches, sculptural objects, vouchers for live works, and more. The works will be on display at Framer Framed and offered for sale during the main event of the evening. Buyers will be able to pay with cash or card.

Eltiqa group is a collective of artists in Gaza that has been working on the ground for more than 20 years, of which most of the members have been displaced since October. ELSC (European Legal Support Center) is an independent organisation defending and empowering the Palestine solidarity movement in Europe through legal means.

Programme

18:00-19:00 Welcome & Drinks
19:00-21:00 Presentation of artworks and bidding
Live performance intermezzo.
21:00-22:00 Rijksakademie resident artists Natalia Papaeva and Daniel Vorthuys will perform as auctioneers
Drinks

The post Auction for Palestine appeared first on Framer Framed.

Financial limitations often play a significant role in crises, sometimes even serving as a primary cause or catalyst. However, despite their evident role in creating problems, money doesn’t always offer a direct solution to the underlying challenges.

In the session Low-Budget Projects: How much does it cost —? participants will explore together how to employ financial strategies for resolving crisis beyond mere credit distribution. By unpacking real-life precarious scenarios, the workshop will analyse the possibilities of using money to address a crisis it may have contributed to, navigate financial challenges in collective cultural practices, and engage in fluid payment systems while embracing flexibility in spreadsheets.

Low-Budget Projects presents a full-day event inviting artists, designers, and cultural practitioners who navigate their practice with diverse financial allocation methods and are actively involved in precarious collective cultural labour. A special welcome is extended to participants outside the EU dealing with the complexities of European Union and Dutch policies.

This event is in English and free of charge.
Would you like to join us? Register here.

tomorrow is a new day
12:00 – 15:00
with Gatari Surya Kusuma and Gizem Üstüner

Photo Credit: Maria Uthe

Using a completed journey from the Netherlands to Indonesia and an unrealised trip from Indonesia to the Netherlands as a case study, participants will explore effective money management for crisis resolution and navigating unforeseen challenges in projects. Through the lens of friends separated by distance, Gatari and Gizem will share their authentic, at times seemingly delusional advice on how they traversed timezone and supported each other. Tomorrow is a new day is an invitation for all resilient, precarious cultural practitioners who confront their daily challenges but are determined not to restrict their aspirations.

The session will focus on the achievements and failures of Gatari and Gizem in the past six months, and unpack their creative story on project and budget planning to persuade various funding bodies to support their travels between these countries. Transitioning from individual to collective, and from collective to individual challenges, they ask: “how to use financial tools for crisis resolution through thoughtful and responsible allocation?”

protocols for collective fiscal dissent
15:30 – 18:30
with vo ezn and Karl Moubarak

This is a session for collective fiscal dissent and dreaming: a space to share and articulate the pains, difficulties, and complexities of financial sustainability in and with collective cultural practices. There will also be time to explore the possibilities of fluidity, asymmetry, and flexibility in collective payment systems and spreadsheets. The session will include drafting wish list exercises and protocols while facilitating the sharing of personal stories of precarity in the context of collective cultural work. Through these exercises, participants will imagine more than just collective finance systems.

This session invites all artists, designers, and cultural practitioners who are involved in collectives or do collective work (either by choice or out of necessity) and have first-hand experience in precarious collective cultural labour. ezn and Karl invite participants from outside the EU whose experiences are complexified by the pluri-bureaucratic walls of the European Union and Dutch policies.

Timetable

11:30 – 12:00 Walk-in

Session 1: tomorrow is a new day (Gatari Surya Kusuma & Gizem Üstüner)
12:30 Why Gatari is not here?
13:00 Unpack: A completed trip from NL to Indonesia and unrealized trip from Indonesia to NL
13:45 Exercise: How to convince funding bodies to support your dreams?

15:00-15:30 BREAK

Session 2: protocols for collective fiscal dissent (vo ezn and Karl Moubarak)
16:00 Introduction to session goals, plan, and activity, setting intentions
16:15 DISSENT: sharing of experiences of collective financing realities
17:15 15-minute pause
17:30 DREAMING: sharing of wishes for collective financing futures

The event is sponsored by AFK – Amsterdams Fonds voor de Kunst and Pictoright Fonds.

The post Full-Day Event: Low-Budget Projects: How much does it cost —? appeared first on Framer Framed.

On 26 November 2023 and January 14, 2024, Samia Henni guides us through the exhibition Performing Colonial Toxicity (2023), providing background into her seven-year research on the subject of French nuclear colonialism in the Algerian Sahara and its ongoing effects. Henni will also provide more insight into the connections between the different components of the project including the forthcoming publication Colonial Toxicity: Researching French Radioactive Architecture and Landscape in the Sahara.

This thought-provoking exhibition, in collaboration with If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, delves into the history of nuclear experiments in Algeria’s Sahara desert and their long-lasting effects. Through immersive multimedia ‘stations’ that feature photographs, maps, and testimonies, Samia aims to tangibly demonstrate the invisible impacts of nuclear colonialism. She also emphasizes the need for justice and accountability for those affected by nuclear testing and the importance of addressing the health of individuals exposed to radiation in contaminated environments.

The exhibition Performing Colonial Toxicity can be visited until 14 January 2024 at Framer Framed during opening hours (12:00-18:00h), free of charge.

This event is in English and free of charge.
A donation at the door is appreciated.

Credits

Performing Colonial Toxicity (2023) is a co-production of Framer Framed and If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution. The project is supported by Swiss Arts Council Pro Helvetia. Special thanks to the Observatoire des armements, Centre de documentation et de recherche sur la paix et les conflits; the Établissement de communication et de production audiovisuelle de la Défense (ECPAD); and to filmmakers Élisabeth Leuvrey and Larbi Benchiha with producer Farid Rezkallah for use of images and film excerpts in the exhibition; as well as to Prof. Dr. Roxanne Panchasi, Simon Fraser University for her support for the Tamasheq-to-French translation of Algerian testimonies.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The exhibition is part of the two-year research project Performing Colonial Toxicity, commissioned by If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution within the frame of Edition IX – Bodies and Technologies (2022-23). If I Can’t Dance is financially supported by the Mondriaan Fund, AFK, Ammodo and Prins Bernhard Cultuurfonds.

The post Performance Lecture by Samia Henni appeared first on Framer Framed.

Arts Collaboratory Assemby: Harvesting & Futurecasting

Founded in 2007 and existing in its current form since 2015, Arts Collaboratory is an ecosystem of 24 diverse art organisations situated in Asia, the Middle East, Africa, Latin America, and Europe, all focused on the collective governance of the network. The organisations engage in expanded artistic and curatorial experiments for social change and sustainability practices in their respective contexts, while experimenting with new geographies of relations and webs of solidarities. Arts Collaboratory has a self-governing structure organized through assemblies, meetings called banga (meaning “time and space” in the Ugandan language Luganda), working groups, and collaborative projects. They connect different communities of artists, collectives, activists, curators, researchers, organisations, and platforms with different languages, interests, and diverse cultural backgrounds. The aim of unlearning capital – and productivity – driven working methods and practising anti/decolonisation is central to how the network thinks and lives.

The theme and the title of the Assembly is Harvesting and Futurecasting. After more than a decade of experimenting, studying, and working together as a trans-local art network, Arts Collaboratory (AC) organisations come together to reflect on the practices of collaboration, cooperation, shared resource building, and mutual support. During the Assembly, member organisations will also consider AC’s future – imagining and think about scenarios for what will come next.

The annual Assembly is integral to how AC operates in line with its ethical principles. It is the moment when member organisations physically come together to share time and knowledge, address issues and challenges through collective study, and engage in tooling and decision-making processes. Similarly, the Assembly is also an opportunity to build relations with the local contexts of the hosting members. By visiting initiatives, sites, and institutions at the host location, AC members engage and connect with local ecosystems.

During this special week of encounters, several public events will take place, too. Organisations, institutions, artists, cultural workers, and collectives in and around the Netherlands are invited to become acquainted with the network and join in imagining what a trans-local culture of collaboration for social change could look like in the field of expanded artistic practice.

In partnership with: Casco Art Institute, Van Abbemuseum (Eindhoven), de Appel (Amsterdam), Framer Framed (Amsterdam), HKU MAFA (Utrecht), and Rijksakademie (Amsterdam).

Agenda

For updated information, please check the website of Casco Art Institute: Working for the Commons

Networking, collaboration, and cooperation in and through the arts: Arts Collaboratory, lumbung, and L’internationale in conversation

Wednesday 15 November 2023, 13:30–17:00
Van Abbemuseum, Eindhoven
RSVP required, please email info@casco.art.

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Lumbung kios – Arts Collaboratory: a(n) (af)fair

Thursday 16 November, 18:00-21:30
De Appel, Amsterdam

These events are organised in the context of de Appel Curatorial Programme, Hope is a discipline.
Open to the public, no reservation is required.

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Commoning and unlearning art organization: stories of transformation and relationality

Saturday 18 November, 16:00-21:00
Casco Art Institute: Working for the Commons, Utrecht

This event is organised in the context of Casco’s recently announced ‘ecosystem shift’ and the Nina bell F. House Museum. RSVP required, please email info@casco.art

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Out of the classroom! Pedagogies for collectivity and justice in the arts

Sunday 19 November 2023, 14:00–18:30
Casco Art Institute: Working for the Commons, Utrecht

This event conceived in collaboration with Framer Framed, Amsterdam and HKU MAFA, Utrecht. It is a closed session with attendance by invitation only.

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Imaging (our) future horizon(s)

Wednesday 22 November 2023
10:00-15:00 @Framer Framed, Amsterdam
16:00-19:00 @ Rijksakademie, Amsterdam

A session dedicated for Arts Collaboratory (AC) member organisations to revisit collectively the experiences, feelings, and knowledges emerging from the Assembly while expanding collaboration by considering AC’s future—conjuring, imagining, and thinking about scenarios for what will come next. This is a closed session, attendance is by invitation only.

The 2023 Assembly is co-organised and co-hosted by member organisations Casco Art Institute: Working for the Commons, Utrecht and DOEN Foundation, Amsterdam. For the 2023 Assembly, Arts Collaboratory is partnered with Framer Framed, Van Abbemuseum, de Appel, HKU MAFA, and Rijksakademie.

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The second issue of the MAKAN Journal interrogates how narratives attest to the very essence of reality and truth, and how we as a society define (or choose to accept) those values in our contemporary world. Human life has always been deeply embedded in a web of narratives that have allowed individuals, communities, and nations to express the truths of who they are, where they have been, and what they aspire to. Entrenched within that framework of manufacture, of how those narrative ‘truths’ are represented or perceived, are the issues of authority and of legitimacy; of the communal or collective commitment that firmly establishes the validity of those narratives within the realities they claim to represent.The presentation will highlight contributions from Manufacturing Narratives that examine the Palestinian condition. As’ad will present his own contribution to the issue, an Arabic language essay that interrogates the postcolonial futures of the Palestine Archaeological Museum (otherwise known as the Rockefeller) in East Jerusalem. The essay Reclaiming Palestinianity [from Representation’s Ruin] was originally commissioned/published by the Nieuwe Instituut.

The presentation will be followed by a moderated discussion led by Mayada Madbouly, which will contextualise the implications of manufacturing narratives towards manufacturing consent, a concept popularised by Noam Chomsky and Edward S. Herman in their study of the political economy of the mass media in 1988. The discussion will address the international media’s reporting of both historical and contemporary events and how that continues to play a key role in manufacturing narratives and supporting foreign policy toward the Palestinian question.

This event is in English and free of charge.

The post MAKAN Journal - Manufacturing Narratives, Manufacturing Consent appeared first on Framer Framed.

This event is in English and free of charge.
Would you like to join? Register here!

Queer Open Stage is a recurring showcase taking place at Framer Framed. Each edition features a set of performances from invited participants, before it’s your turn to take the stage! Performers of all disciplines are welcome – whether you’re a singer, dancer, poet, comedian, or have another unique talent to showcase, this is your chance to shine and celebrate the richness of our LGBTQ+ community. Sign up here and share your unique voice with a supportive audience.

While the event itself is in English, performances in all languages are welcome. The event starts at 16:00 and ends at 18:00, so arrive early for the best seats.

Queer Open Stage will take a break after this edition. Don’t miss the last event of the year!

While we promote and support freedom of speech, our primary focus is to create a safe and inclusive environment where both performers and the audience feel at home and secure. Hence, we prohibit any forms of hate speech or targeted attacks on a community, group, or individual.

The event may be photographed and filmed. Please let us know in advance if you prefer not to have your picture taken.

The post Queer Open Stage: Act 5 appeared first on Framer Framed.

Scholars of slavery, Africa, the Atlantic world, and the African diaspora have paid increasing attention to the central role of African women and their descendants in the development of the lucrative institution of slavery in the Americas (Morgan 2004, Johnson 2020, Morgan 2021). Several of these studies have also focused on Black women’s sexualities and how they conformed to or defied Eurocentric views. The new visibility of Black women in recent studies has also gained traction in popular culture with the release of documentary films, television series, and motion pictures, featuring African women as warriors and rulers such as the Agodjié of Dahomey and Queen Njinga in Angola.

Yet, in their homelands in West Africa and West Central Africa, women played a greater variety of economic and social roles alongside their male counterparts. With the rise of the Atlantic slave trade, African women were victims of sexual violence perpetrated by European men stationed along the Atlantic coasts of Africa, and were also persecuted by the Inquisition. But even during the era of the Atlantic slave trade, African women had a variety of legal statuses as free, freed, and enslaved. They also performed several social, economic, and religious roles as wives, mothers, daughters, healers, merchants, and landowners. Some women also became slave owners and slave traders. Defying commodification, and religious persecution across the African continent and within the framework of the African diaspora, women created material and spiritual worlds of their own. Despite this recent recognition, when presenting histories of slavery museum exhibitions have rarely recognized the centrality of enslaved African women.

Drawing on the growing scholarship examining the central positions of African women in the continent and the important roles enslaved descendants in the Americas, this two-day academic conference will gather historians, art historians, and curators to explore the history of Black women in Africa and the African diaspora during the era of slavery, the Atlantic slave trade, and colonialism, with the aim of:

1) Reevaluating recent scholarship about enslaved, unfree, freed, and free African women and their descendants in Africa, Europe, and the Americas, and the histories of their sexualities, in order to explore which fields, themes, and approaches have been underrepresented or overrepresented.

2) Examining how African women, enslaved, freed, and free, engaged with material culture, ideas, and spirituality during the era of the Atlantic slave trade.

3) Assessing and revisiting the problematic nature of demographic data, as well as colonial written, oral, and visual sources related to the history of African women and their descendants.

4) Exploring the connections between the experiences of enslaved African women and other unfree women who were submitted to indentured servitude.

5) Discussing how the existing scholarship on African women and their descendants has informed existing representations of slavery, the Atlantic slave trade, and colonialism in the museum and other initiatives such as public monuments and memorials.  

This event is in English and free of charge.
Are you joining us? Please register via Eventbrite.

Programme

5 December 2023

Framer Framed
Oranje-Vrijstaatkade 71
1093 KS Amsterdam

9:00 Registration

9:30 Welcome remarks
Ana Lucia Araujo, Howard University, United States,
Carine Zaayman, Wereldmuseum Amsterdam, the Netherlands,
Wayne Modest, Wereldmuseum Amsterdam, the Netherlands.

Panel 1: Multidimensional and Defying Roles of African and Black Women
Chair and Discussant: Ana Lucia Araujo, Howard University, United States.

9:40 Merchant, Healer, Household Head, Queen: Daily Life for Women in Cacheu (Guinea-Bissau), 1630s-1660s
Toby Green, King’s College London, United Kingdom.

10:10 Black Women and the Portuguese Inquisition in the early modern Atlantic World: Cooperation, Defiance and Persecution
Filipa Ribeiro da Silva, International Institute of Social History, the Netherlands.

10:40 Discussion

Panel 2: Mobility, Resistance, and Freedom
Chair and discussant: Toby Green, King’s College London, United Kingdom.

11:20 Violence and Resistance: Capture, Enslavement and Sale of Girls and Women in West Central Africa, 1550-1880s
Mariana P. Candido, Emory University, United States and American Academy in Berlin, Germany.

11:50 Mapping an Eighteenth-Century Black Metropolis in France (But Not in Paris)
Lorelle Semley, Boston College, United States.

12:20 African Women’s Resistance in the French Slave Trade
Jessica Marie Johnson, Associate Professor, Department of History, Johns Hopkins University, Baltimore, United States.

Discussion

More info about the programme on 6 December at Wereldmuseum Amsterdam, Studio (Linnaeusstraat 2, 1092 CK Amsterdam) is HERE!

This conference is co-organised by Research Center for Material Culture, Wereldmuseum Amsterdam and Framer Framed.

The post Symposium: Now You See Me appeared first on Framer Framed.

The first memorial of the series by We Sell Reality is dedicated to the current war in Sudan. Since the war started on 15 April 2023, this war has taken a grip on the collective. In their own words, We Sell Reality writes:

“Some of our team members are from Sudan and their family members were forced to flee their houses and some of their friends have been killed. The whole infrastructure in Sudan collapsed, there is no work, no money, no safety, no future prospects. The media stopped reporting about this war, but for our members it is still a daily reality. They are worried about their friends and families; they are sending them money to keep them alive, and they deal with the feeling of guilt, because they are safe, but their loved ones are not. This feels lonely.

They walk around with the war in their minds and in their bodies, but around them everyone just continues their lives as if nothing is going on. There are many more people feeling the exact same way. Therefore, We Sell Reality would like to organise the memorial. To come together, to share these feelings, to think collectively about what we can do from here, to hold each other. The memorial also wishes to make people aware that we are here and therefore the war in Sudan is here as well. We want to inform people and get them engaged, as this is the world we share.

We invite all the Sudanese diaspora and everyone else who wants to know and understand more to join us. Don’t feel shy if you are not familiar with the rituals. We will welcome you, guide you and appreciate your presence very much.”

Memorial #1: Sudan – When Clouds Are Moving

25 November, 17:00 – 21:00
Framer Framed
Walk in from 16:30. The memorial will start with collective praying, followed by a Koran reading and a collective discussion about what we can do from here. After that we will have dinner at the same time as a dinner will be distributed among a group of refugees in Sudan.

Please join us at the other memorials around the city:

Memorial #2: Ethiopia – And The Air Is Burning

3 December, 17:00 – 21:00
Sexyland World
Walk in from 16:30

Memorial #3: Time, Space & Death – In The Silence Of Cosmic Winds

9 December, 20:00 – 22:00
Amsterdam Museum
Walk in from 19:30

Image courtesy of We Sell Reality

About

Refresh Amsterdam
How does past violence affect your life in the present? What do you pass on to future generations? Refresh Amsterdam #2 includes works by 20 artists from different disciplines, selected through an open call. Through their work, they demonstrate how wars and conflicts around the world and over time play a part in the city of Amsterdam. Refresh Amsterdam is a biennial, interdisciplinary manifestation of Amsterdam’s urban culture. This second edition is organised together with more than twenty cultural institutions in Amsterdam, with the collective We Sell Reality as the main partner.

We Sell Reality
We Sell Reality is a socially defiant label founded by a collective. We Sell Reality reflects on the paradox of borders that are closed for some, while open for others. For migrants who are not wealthy, the European borders are almost impossible to cross. The position of dependence that some end up in as a result is made visible by We Sell Reality. The We Sell Reality team develops products and presentations aimed at offering an insight into the lives of refugees.

The post We Sell Reality Memorial #1: Sudan – When Clouds Are Moving appeared first on Framer Framed.

The symposium seeks to explore the different temporal contexts and idioms of modernism as they emerged and manifested themselves across the Hispanophone, Francophone, Dutch, and Anglophone Caribbean (and their diasporas). Day one will be devoted to visual modernism and day two to literary modernism.

Across a range of expression and identity, artistic as well as intellectual, modernism has been a shaping force in the twentieth-century Caribbean. If European modernism partly established itself through its imperial connection, the modernisms of the colonial world find their voices by appropriating, indigenising, creolising, transforming the forms and languages of modernism. Across the regional and diasporic Caribbean, modernism contributed to the modes of radical artistic and intellectual response to colonial domination, dispossession, and oppression.

Modernism provided some of the idioms, styles, and infrastructures which articulated the politics, poetics, and aesthetics of self-determination. In the last three decades or so, with the decline of postcolonial sovereignty and the rise of globalisation, there is reason to doubt that modernism continues to be the subversive force that it was thought to be. Our aim is to understand the role of visual, literary, and intellectual modernism in the twentieth-century Caribbean, regional and diasporic, and to then explore whether modernism’s oppositional energies continue to be a significant point of reference.

This event is in English. Entry free of charge, a donation at the door is appreciated.

Programme

For more information on the program, please refer to the abstracts here.

Symposium: What and When Was Caribbean Modernism? is co-organised by Small Axe, Wereldmuseum Amsterdam, Research Center for Material Culture and Framer Framed.

Image credit: Cascade and Hummingbirds – After Martin Johnson Heade (2013) – © Eduard Duval-Carrié, Mondriaan Fonds – Inventory No: AM-708-2

The post Symposium: What and When Was Caribbean Modernism? appeared first on Framer Framed.

Register

Highlighting a shared philosophy of resistance and rebellion, Puma Camillê has developed a distinct practice that incorporates elements of the two art forms of voguing and capoeira. Through her experiences as a black trans woman born in São Paulo, Puma found in both forms a sense of defiance, each with their origins in a search for freedom – in capoeira a form of resistance from slavery and in voguing a celebration of queer identities amid the LGBTQIA-phobic landscape of 1980s Harlem. During the masterclass, Puma Camillê will introduce her work and how she resignifies elements of voguing and capoeira when mixing the two forms.

While the masterclass takes place within the context of Willem de Kooning Academy’s (WdKA) minor class Things and Stuff, all are welcome to participate. The masterclass also includes a group discussion between Puma and participants.

Programme

Short Performance by Puma Camillê
Masterclass by Puma Camillê
Group Discussion
Group Exercise: A lexicon of terms will be built that will be used to collectively construct a text summarising the encounter between participants and Puma Camillê.
Closing comments by Puma Camillê and WdKA tutors Sonia de Jager & Martina Riponi

Register for the masterclass here

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Museums worldwide house artefacts that have been unlawfully acquired, either through (colonial) looting, theft, or trafficking. While there have been efforts in increasing guidelines on provenance research and restitution, the process remains complex, sensitive, and not always leads to desirable outcomes. Recent developments in 3D printing might present innovative and global approaches to address these issues. By creating almost identical copies and presenting the same object in various ways, 3D printing shows potential to engage with original artefacts while at the same time ensuring critical dialogues on restorative and reparative justice remain.

To explore how 3D printing can renegotiate issues concerning contested heritage in museums, researchers Dr. Naomi Oosterman (Erasmus University Rotterdam), Liselore Tissen (Leiden/Delft University), and artist Daniel Aguilar Ruvalcaba (Rijksakademie / Pressing Matter) have been studying the possibilities and ethical considerations 3D printing can offer. Some of the social art practice provocations initiated by Daniel Aguilar Ruvalcaba – co-produced during his time as Pressing Matter artist-in-residence – have been the starting point of this conversation and provided the case central to this inquiry: an ancestral Mesoamerican human skull currently on display at the Wereldmuseum Leiden, the Netherlands (formerly known as Museum Volkenkunde).

Over the past months, Daniel Aguilar Ruvalcaba – along with poet Nadia Ñuu Savi and visual artist Mili Herrera – has co-facilitated visionary archaeology workshops with two Mixtec communities in Santa María Cuquila, Oaxaca (México) and Oxnard, California (USA), considering accessibility, co-creation, collaboration, and inclusion as main pillars during the process. During these workshops, children and young adults engaged with small 3D-printed skulls of the original ‘Leiden skull’ where they were introduced to the story of the skull and how it travelled from Mexico to the Netherlands.

To continue this communal effort and expand the story with the 3D-printed skull in the future through forms of imagination, speculation and care, the research team invites Mixtec scholars Lic. Izaira López Sánchez (The Americas Research Network), Dr. Omar Aguilar Sánchez (Universidad Autónoma Comunal de Oaxaca-The Americas Research Network) to hear their perspective on this discussion. The research team asks participants to join this conversation, exchange ideas, and from the South that resists in the North envision other possible worlds.

Programme

18:00-19:00h Introduction to the topic and presentations:

Dr. Naomi Oosterman: A skull with multiple narratives
Dr. Omar Aguilar Sánchez: Reappropiation of the cultural memory of the Ñuu Savi
Izaira López Sánchez: The challenges of repatriation of our ancestors in the Ñuu Savi
Daniel Aguilar Ruvalcaba: On visionary archeology
Liselore Tissen: The digital afterlife of the skull: ethical considerations & role of museums

19:00 Interactive audience discussion
19:30 Celebremos el Día de los Muertos! Including snacks and drinks
20:00 Closure

About Pressing Matters

Pressing Matter investigates the potentialities of ‘colonial objects’ to support societal reconciliation with the colonial past and its afterlives, and to deal with conflicting claims by different stakeholders for these objects within museums. The project will connect fundamental theories of valuation and property to postcolonial debates on heritage to these societal debates and aims to develop and test, first, new theoretical models of value and ownership and, second, new forms of return that address but move beyond current approaches to heritage restitution, while developing a theory of object potentialities grounded in the entangled, multipolar histories in which colonial objects were collected, kept and made meaningful.

This event emerged from a larger research project entitled 3D reproduction methods in contested heritage, award granted by the LUCDH to Liselore Tissen, Leiden University/Delft University and Dr. Naomi Oosterman, Erasmus University Rotterdam.

Special thanks for the support provided by Rijksakademie van Beeldende Kunsten to hold this event.

Further reading

Errant Journal #5, Learning From Ancestors. Epistemic Restitution and Rematriation, 2023.

L.N.M. Tissen, 3D Printing and the Art World: Current Developments and Future Perspectives. Advances in 3D Printing, IntechOpen, 3 May 2023. Crossref, doi:10.5772/intechopen.109107.

L.N.M. Tissen, Authenticity and Meaningful Futures for Museums: the Role of 3D Printing, Journal Of The Lucas Graduate Conference, Leiden: Leiden University, 2021 9, 94-122.

N. Oosterman & D. Yates, ‘Policing heritage crime in Latin America’, Revista de Direito Internacional, 2020, 17(3), 275-290.

M. van Nuland, ‘Kopzorgen Voor Het Museum: Wat Te Doen Met Een Gestolen Schedel?’, Trouw, 1 May 2023.

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This event is in English and free of charge.
Are you joining us? Register!

To activate the exhibition Performing Colonial Toxicity, the accompanying open access digital database, The Testimony Translation Project built in the If I Can’t Dance Studio will be introduced. Developed in collaboration with a global network of twenty “translator-participants”, the online repository begins the long process of digitalising and translating the over seven hundred pages of written and oral testimonies by French and Algerian victims of France’s nuclear detonation programme. From 15:30, curator Megan Hoetger will lead a special tour through the exhibition, focused on the testimony translation. A group of translator-participants will join the conversation and share their reflections on the translation process.

About the Exhibition

From 8 October 2023 to 14 January 2024, Framer Framed presents the exhibition Performing Colonial Toxicity by researcher and architectural historian Samia Henni, in collaboration with If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution. The project sheds light on the redacted history of French nuclear colonialism in the Algerian Sahara and draws attention to the urgency of reckoning with this history and its lived environmental and sociopolitical impacts. Read more

Performing Colonial Toxicity is a co-production of Framer Framed and If I Can’t Dance, I Don’t Want To Be A Part Of Your Revolution.

Image: Performing Colonial Toxicity (2023), Maarten Nauw / Framer Framed

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This event is in English and free of charge.
Would you like to join? Register here!

Experience a showcase by talented performers from diverse backgrounds. After a set of performances from invited participants, it’s your turn to take the stage! We welcome performers of all disciplines to share their talents. Whether you’re a singer, dancer, poet, comedian, or have any other unique talent to showcase, this is your chance to shine and celebrate the richness of our LGBTQ+ community. Sign up here and share your unique voice with a supportive audience.

While the event itself is in English, performances in all languages are welcome. The event starts at 18:00 and ends at 20:00, so arrive early for the best seats.

While we promote and support freedom of speech, our primary focus is to create a safe and inclusive environment where both performers and the audience feel at home and secure. Hence, we prohibit any forms of hate speech or targeted attacks on a community, group, or individual.

The event may be photographed and filmed. Please let us know in advance if you don’t prefer to have your picture or video taken.

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The New Social: Hybrid Strategies for Cultural Spaces is a collaborative project between Framer Framed, Hackers and Designers and IMPAKT exploring hybrid strategies for cultural spaces. The project The New Social seeks to find effective ways for long-term meaningful cultural production, blending online and offline formats like live casting, digital archives and publications.

In order to elevate the digital archive of Framer Framed, we worked together with Archival Consciousness which was initiated by artist Mariana Lanari and graphic designer Remco van Bladel to collaborate with libraries and archives in cultural institutions. This has resulted in a new publishing tool, with an accessible interface through which anyone is able to create a digital publication that is easily shared online within the Digital Archive, as a PDF, or transformed as an offset file printed to be printed as a book. During Design Week 2023, Framer Framed will display a new publication on the Court for Intergenerational Climate Crimes (Framer Framed, 2023) that was produced using the publishing tool.

Location
Klokgebouw
Klokgebouw 50
5617 AB Eindhoven

InnovatieLabs

The New Social: Hybrid Strategies for Cultural Spaces is made possible thanks to the support of InnovatieLabs #1 : from a multidisciplinary platform that promotes and disseminates knowledge about sustainable materials, to a development program aimed at makers who want to experiment with mixed reality theater techniques. Additionally, the findings of the team of researchers are presented which has been closely following the projects in recent months. They share their most important insights based on four themes: business models, collaboration, public participation and the role of the maker. Together, the projects and research results form a source of practical knowledge and experience about the use of innovation projects for current challenges in the cultural and creative sector.

Eva Roolker, project leader InnovatieLabs: “InnovatieLabs #1: The Living Archive marks the end of the first edition of Innovation Labs, but also a new beginning. During the Dutch Design Week, the knowledge and insights gained within the program are further shared, but also deepened in exchange with the general public and interested professionals. Everyone is invited to contribute to the living archive full of information for the future sector.”

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Let’s Become Fungal! Mycelium Teachings and the Arts (Valiz, 2023) takes its inspiration from the world of art and mycology and shares innovative practices from Latin America and the Caribbean that are rooted in behaviours of the mycelium, such as: symbiosis, multispecies collaboration, decentralisation and non-monetary resource exchange. Let’s Become Fungal! is more than a book; it presents a way of thinking that can be activated in communities, networks, movements and organisations.

After a short introduction, we will screen the short video ‘trailer’ for the book. In this video some excerpts from the interviews that Yasmine conducted are featured. The sharing and exchange of knowledge during these interviews led to twelve Fungi teachings, presented in the book. Later on, the writer will read excerpts from the book, and guide the audience in a Mycelial Mediation; a collective meditation exercise in which awareness is drawn to the surroundings and the collective presence. Later on, there is ample time for Q&A with the author as well as the possibility to further connect and exchange over drinks.

About

Let’s Become Fungal! Mycelium Teachings and the Arts

Author: Yasmine Ostendorf-Rodríguez

Publisher: Valiz
336 pp. | 24 x 17 cm (h x w) | English | August 2023 | ISBN 978-94-93246-28-7 | 27 €

Inspired by conversations with:
Francisca Álvarez Sánchez, Carolina Caycedo, Annalee Davis, Maya Errázuriz, Juan Ferrer, Lilian Fraiji, Giuliana Furci, Sofía Gallisá Muriente, Yina Jiménez Suriel, Patricia Kaishian, Mirla Klijn and Olaf Boswijk, Lola Malavasi and Daniela Morales Lisac, Martina Manterola and Carmen Serra, Camila Marambio, Mariana Martínez Balvanera, Claudia Martínez Garay, Lina Meija and Luciana Fleischman, Tomaz Morgado Françozo and Marília Carneiro Brandão, Marion Neumann, Maria Alice Neves, Tara Rodríguez Besosa, Raquel Rosenberg, Juli Simon, Ela Spalding, Gianine Tabja, Gabriela Flores del Pozo and Lucia Monge, Fer Walüng, Tatyana Zambrano

Design: Andrea Spikker with illustrations by Rommy González

Yasmine Ostendorf-Rodríguez is the author of Let’s Become Fungal! Mycelium Teachings and the Arts. She works as a curator and researcher on art and ecology, and is based in Mexico-City. She founded and directed many international initiatives at the intersection of art and ecology, including the Green Art Lab Alliance and the Nature Research Department; the Van Eyck Food Lab; and the Future Materials Bank at the Jan van Eyck Academie (the Netherlands).

Valiz is an independent international publisher on contemporary art, theory, critique, design, and urban affairs. Valiz’s books offer critical reflection, interdisciplinary inspiration, and often establish a connection between cultural disciplines and socio-political questions. Valiz publishes out of commitment to the content, to artistic and social issues, and to artists, designers and authors. Apart from publishing books, Valiz organises lectures, debates and other cultural projects in which certain topics in contemporary art are explored. Valiz is based in Amsterdam.

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Symposium: Revisiting the Past, Shaping the Future – Photo by Marlise Steeman

Fifty years ago, the Coup led by Augusto Pinochet in Chile marked the onset of an era when transnational corporations could strip people of their rights. However, in that very same period, new transnational networks of solidarity and collective action emerged. SOMO and TNI stand as enduring symbols of that transformative era.

Audrey Gaughan, SOMO and
Fiona Dove, TNI.

Opening Act
Nené Moné, Chilean performer and activist

Roundtable I
President Allende’s UN Speech
50 years ago, Salvador Allende cautioned the world at the UN about the growing dangers of corporate power and its potential to threaten democratic societies and increase inequality. We will evaluate the relevance and foresight of Allende’s speech in today’s global political and economic landscape and understand the current challenges posed by corporate power.

Speakers:
Daniel Chavez, TNI,
Shahd Hammouri, University of Kent.

Roundtable II
The United Front as a political strategy
The United Front was a significant political alliance in Chile that combined various progressive and center-left parties. While it saw electoral success, it also experienced intense opposition, marking the beginning of the global shift towards neoliberalism. We will analyse the historical significance of the United Front and determine its feasibility as a radical political solution within current Dutch and world politics.

Speakers:
Marieke Riethof, University of Liverpool,
Jorge Arrate, Minister of State in the Government of Salvador Allende – via Zoom.

Roundtable III
International Solidarity Movements and the Chilean Exile Experience
After the Chilean coup, international solidarity movements and networks were supporting Chilean exiles in the Netherlands. We will reassess the role of such movements and understand their impact on political scenarios and diaspora groups, drawing lessons for fostering inclusive global support systems in today’s context.

Speakers:
Mónica Barraza Madariaga, Chile Despertó/ Diáspora Solidaria,
Jan de Kievid, Chile Committee Netherlands.

Final Segment
A collaborative discussion will be facilitated, allowing participants to identify links between the three main topics. By juxtaposing insights from the past with current happenings in Chile and beyond, the event seeks to discern repetitive trends and utilise historical knowledge to guide progressive political strategies for the future.

Concluding Remarks: Rodrigo Fernandez (SOMO) and Brid Brennan (TNI)
Closing Act: Banda Patagonia
Collective Dinner: We’ve got the food covered!

Symposium: Revisiting the Past, Shaping the Future is co-organised by SOMO, TNI, OLAA and Framer Framed.

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Opening

Saturday 7 October, 19:00-21:00
Free entry

The exhibition can be visited from 8 October 2023 to 14 January 2024 at Framer Framed during opening hours (12:00-18:00), free of charge.

About

Between 1960 and 1966, the French colonial regime detonated four atmospheric atomic bombs, thirteen underground nuclear bombs and conducted other nuclear experiments in the Algerian Sahara, whose natural resources were being extracted in the process. This secret nuclear weapons programme occurred during and after the Algerian Revolution, or the Algerian War of Independence (1954–62). The resulting toxification of the Sahara spread radioactive fallout across Algeria, North, Central and West Africa, and the Mediterranean (including Southern Europe), causing irreversible and still ongoing contaminations of living bodies, cells and particles, as well as in the natural and built environments. Because the archives of the French nuclear programme remain closed over fifty years later, historical details and continuing impacts remain largely unknown.

Performing Colonial Toxicity presents available, offered, contraband and leaked materials from these archives in an immersive multimedia installation. It creates with them a series of audio-visual assemblages, which trace the spatial, atmospheric, and geological impacts of France’s atomic bombs in the Sahara, as well as its colonial vocabularies, and the (after)lives of its radioactive debris and nuclear waste. Taking on an architectural scale, these “stations”, as Henni refers to them, are meant to be moved through and engaged with. Visitors are invited in to draw their own connections between what is present in the installation, as well as what is absent from it.

The exhibition emerges from a broader research project, which also includes the publication Colonial Toxicity: Rehearsing French Nuclear Architecture and Landscape in the Sahara and an open access digital database entitled The Testimony Translation Project. Experimenting with different methods of spatialising and circulating suppressed information, the project’s three-part structure constitutes a powerful call to action to open the still-classified archives and to clean/decontaminate the sites: both crucial steps for exposing the pasts, presents and futures of colonial toxicity.

Performing Colonial Toxicity is a co-production of Framer Framed and If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution. The project is supported by Swiss Arts Council Pro Helvetia. Special thanks to the Observatoire des armements, Centre de documentation et de recherche sur la paix et les conflits; the Établissement de communication et de production audiovisuelle de la Défense (ECPAD); and to filmmakers Élisabeth Leuvrey and Larbi Benchiha with producer Farid Rezkallah for use of images and film excerpts in the exhibition; as well as to Prof. Dr. Roxanne Panchasi, Simon Fraser University for her support for the Tamasheq-to-French translation of Algerian testimonies.

Framer Framed is supported by the Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; and VriendenLoterij Fonds.

The exhibition is part of the two-year research project Performing Colonial Toxicity, commissioned by If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution within the frame of Edition IX – Bodies and Technologies (2022-23). If I Can’t Dance is financially supported by the Mondriaan Fund, AFK, Ammodo and Prins Bernhard Cultuurfonds.

Acknowledgements

Samia Henni would like to extend her most sincere gratitude to Patrice Bouveret and the collaborators and partners of the Observatoire des armements; Larbi Benchiha, Bruno Hadjih, Elisabeth Leuvrey, Farid Rezkallah,as well as to Frédérique Bergholtz, Megan Hoetger, the extended If I Can’t Dance… team (Naomi Collier Broms, Sancha Castro, Anik Fournier, Sara Giannini, Bram Nijssen, Hans Schamlé, and Marcel van den Berg), Framer Framed team, and Swiss Art Council’s Pro Helvetia Foundation for their support of the project.

Deep thanks also go to the interviewees who have generously accepted to share their expertise and experience, including: Larbi Benchiha, Patrice Bouveret, Roland Desbordes, Bruno Hadjih, Gabrielle Hecht, Penelope Harvey, Jill Jarvis, and Roxanne Panchasi, as well as the translator-participants who have committed their time to translating Henni’s selection of testimonies, including: Raoul Audouin, Adel Ben Bella, Omar Berrada, Megan Brown, Séverine Chapelle, Simona Dvorák, Hanieh Fatouree, Alessandro Felicioli, Anik Fournier, Jill Jarvis, Augustin Jomier, Timothy Scott Johnson, Anna Jayne Kimmel, Corentin Lécine, Natasha Llorens, Miriam Matthiesen, Martine Neddam, M’hamed Oualdi, Roxanne Panchasi, and Alice Rougeaux.

And, finally, much appreciation to Marley Jaeda Barnes, Amina Belghiti, Samuel Fuchs, Floriane Germain, François Girard-Meunier, Maxime Groslambert, Pamela Hampton Hunsinger, Megan Gail Mueller, Caroline Ann O’Donnell, Roxanne Panchasi, Georg Rutishauser, Sabine Sarwa, Pascal Schwaighofer, Philip Ursprung, Oliver Wyss, Meejin Yoon, and all those who have over the years contributed to the development of this research and who asked to remain anonymous.

Further sources:
Vent de sable by Larbi Benchiha (2008)
At(h)ome by Elisabeth Leuvrey (2016)

Image credit: Photograph by Bruno Barrillot, the co-founder of the Observatoire des armements in Lyon, France. The images were taken during a visit to France’s nuclear sites in Reggane and In Ekker in the Algerian Sahara, with the filmmaker Larbi Benchiha and his team in November 2007. Courtesy of Observatoire des armements.

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Exhibiting Dates: 23-30 September 2023
Public Programs: 29 and 30 September 2023 (more info below)
Location: Limestone Bookstore (Grote Gracht 63, 6211 ST Maastricht)

Since November 2022, Framer Framed and the Jan van Eyck Academie have been exploring different possibilities of providing an artist coming from abroad an enriched residency experience. Together with Yornel J. Martínez Elías, the selected Jan van Eyck participant for 2022-2023, we focus on themes of interconnection, local-to-local exchange, and resource sharing between communities in the Netherlands and the home country of the artist in Cuba. Towards the end of Yornel’s residency, we are happy to team up with Limestone Bookstore in Maastricht as the first location to host Archipelagic Affects, where we share moments of exchange and learning processes.

Within the duration of Archipelagic Affects, visitors are welcomed to explore a variety of titles that have been key inspirations for the artist’s ongoing practices over the course of his residency. These titles include special bookmarks with traces and remarks created by the artist in conversation with his interlocutors. The focal point of this presentation is a dedicated area featuring independent, self-managed publications Ediciones*, developed by Yornel. They are placed alongside other books created by fellow Cuban editorials, who are mostly practicing outside of the country due to the economic, political and infrastructural status of Cuba. Materialised in published works, these editorials symbolise seeds of Cubas’ cultural sovereignty safeguarded by artists, writers, and editors. Together they propose an ecology of multiplicity and solidarity — valuing multimodal, non-hierarchical ways of thinking, gravitating from their home islands towards unknown worlds with a wish to meet and be felt by others.

Created as an open, ongoing, growing literary garden welcoming new contributions by independent publishers and iterations when journeying to different places, Archipelagic Affects shares the ways in which different cultures and worlds cross paths through a residency experience. The project also values the potential of literary and artistic encounters in creating new confluences and carrying forward solidarity networks to support other ways of artistic production and dissemination within and beyond national boundaries.

Public Programs

Join us for the public programs of Archipelagic Affects on September 29 and 30, where Limestone Bookstore will be transformed into an intercultural, pluriversal time-space. In addition to the works on display, we will host a multilingual poetry reading session led by Nanne Timmer, a transcontinental conversation between cultural critic Carlos A. Aguilera, and writer and performer Martha Luisa Hernández Cadenas; as well as a collective zine-making workshop led by Yornel Martinez using recycling papers and old books collected locally by Limestone Bookstore and participants.

Friday, September 29 (19:00-21:00)
19:00-19:10  Welcoming words by Hicham Khalidi and Chen Jhen
19:10-19:20  Introduction of the concept by Emily Shin-Jie Lee
19:20-19:30  Introduction of the works and guided tour by Yornel J. Martínez Elías
19:30-21:00  Archipelagic Circulations and Cuba: Alternative Modes of Publishing: A conversation with Carlos Aguilera, Martha Hernández and Yornel J. Martínez Elías, moderated by Nanne Timmer

In this conversation, editor and activist Carlos Aguilera will talk about the past and current challenges of Cuban publishing houses, and Martha Hernández will talk about what it is like to work in Cuba with self-publishing.

Saturday, September 30 (14:00-17:00)
14:00-15:00  Intercultural Recycling an Translating as Forms of Poetry-making by Nanne Timmer
15:00-15:30  Tea Break
15:30-17:00  Workshop: Think/Publish Collectively with Yornel J. Martínez Elías

This workshop invites participants to experiment with collective publishing methods. Participants are invited to bring their own disposable newspapers, magazines, or old books. Together we will assemble a publication using the available materials to explore ideas of multiplicity and the culture of recycling.

All events are free and open to all.
The programs will be in English-Spanish with the translation occurring collectively.

Throughout the presentation, Sumugan Sivanesan, founder of fugitive radio, will be recording the events and talking to participants. The recordings will be mixed into a program and broadcasted on fugitive radio later on.

About

Limestones Books is a bookstore in Maastricht that showcases non-western perspectives and hosts exhibitions, lectures and workshops related to design and artist’s books.

The Jan van Eyck Academie is a multi-disciplinary Post-Academy. The academy offers residencies to artists, writers, curators, architects and designers  from all over the globe — ranging from graphic, fashion, to food and social design.

Archipelagic Affects is part of the publication project FORMOSA: a travelogue from island to island initiated by Framer Framed in partnership with the Jan van Eyck Academie.

Supported by
The Netherlands Office Taipei; Ministry of Education, Culture and Science; Amsterdams Fund for the Arts; Municipality of Amsterdam and VriendenLoterij Fonds.

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Werkplaats Molenwijk 5-Year Celebration! – Photo: Lina van den Idsert / Framer Framed

In 2018, Framer Framed opened Werkplaats Molenwijk, a project space located in the Molenwijk neighborhood in Amsterdam-Noord. Over the past five years, Werkplaats has evolved into a vibrant space for events and projects developed in close collaboration with local initiatives, residents, artists, and activists, who were invited to contribute to the Werkplaats. Together we share and learn about the importance of creative self-expression, and the value of belonging to a place whose history the residents – old and new – have helped to forge.

To celebrate the five-year anniversary of Werkplaats Molenwijk, we present a diverse program featuring past and current collaborators who have made significant contributions to Werkplaats Molenwijk. We are also delighted to announce the presence of wethouder Meliani and stadsdeelbestuurder Esther Lagendijk. The programme commemorates our collective efforts and the valuable relationships. We warmly welcome you to join us on this festive day, where you can meet new people, learn more about the neigbourhood, and actively contribute to the future of Werkplaats Molenwijk!

Program
12:30 – 13:00 Walk-in
13:00 – 15:00 Program with retrospective by residents, book presentation Kunst in de Molenwijk, parade and performances
15:00 – 15:30 Walking tour through the neighborhood with Sietske Roorda
15:30 – 17:00 Musical performance by Golrokh Nafisi and drinks afterwards

Adress
Werkplaats Molenwijk
Molenaarsweg 3
1035EJ Amsterdam

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Join us at Framer Framed on September 6 at 19:00 for Rebel Dances: Borders in Tranc-it. A performance by Papaya Kuir and directed by Pau(la) Chaves Bonilla.

This free event is in English and Spanish. Please register via Eventbrite.

‘Rebel Dances: Borders in Tranc-it’, © Marlise Steeman / Framer Framed

A group of performers invites the audience into an immersive theatrical experience that will displace their sense of orientation. A coming together of rebel hearts, a call from the diaspora towards decolonization.

“Rebel Dances: Borders in Tranc-it is a performance that delves into states of in-betweenness and traveling worlds. The emotional distance between one geographic space and another one, the border controls, the faraway memories of ‘home’, the multiplicity of embodiments we carry as queer migrants. With the intention of reconnecting to our territories in Abya Ayala, this performance designs syncretic devices of resilience and resistance through embodied story-telling, performance and movement practices like cumbia rebajada and post-punk.”

Papaya Kuir is a lesbotransfeminist collective of Latin American migrants and refugees residing in the Netherlands.

Pau(la) Chaves Bonilla is a Colombian choreographer, performance artist, cultural worker and grassroots organiser based in Amsterdam. She has a background in contemporary dance, theater, circus, feminist politics, choreography, queer activism and now works across these disciplines.

Credits
Initiated by: Papaya Kuir
Concept and Artistic Direction: Pau(la) Chaves Bonilla
Performance & Co-creation: Daniela Angel, Patri Roa Johansen, Liliana Estefania, Alejandra Zabala, Annette Rodriguez, Yoacin Villalobos, John Rodriguez, Nene Mone and Pau(la) Chaves Bonilla
Artistic Advising: Flavia Pihneiros and Floor van Leuwen
Costumes: Carly Everaert
Technical support: Nadia Bekkers and Niels Runderkampos
Production: Alejandra Zabala
Produced by: Papaya Kuir

The event may be photographed and filmed. Please let us know in advance if you prefer not to have your picture or video taken.

This project is initiated by Papaya Kuir and directed by Pau(la) Chaves Bonilla hosted by Framer Framed.

Acompáñanos en Framer Framed el 6 de septiembre a las 19:00 para Danzas Rebeldes: Fronteras en Tranc-it. Un performance de Papaya Kuir, dirigido por Pau(la) Chaves Bonilla.

Este evento es gratuito y presentado en inglés y español. Registro a través de Eventbrite.

‘Rebel Dances: Borders in Tranc-it’, © Marlise Steeman / Framer Framed

Danzas Rebeldes: Fronteras en Tranc-ito es un performance que ahonda en estados de transición y viaje-entre-mundos. La distancia emocional entre un lugar geográfico y otro, los controles fronterizos, los recuerdos lejanos del “hogar”, la multiplicidad de corporalidades que somos lxs queer/kuir migrantes. Con la intención de reconectarnos con nuestros territorios en Abya Ayala, esta juntanza diseña dispositivos sincréticos de resiliencia y resistencia a través de prácticas narrativas, performativas y de movimiento como la cumbia rebajada y el post-punk.
Un grupo de performers invita al público a una experiencia teatral inmersiva que cambiará su sentido de orientación. Desdibujando la brecha entre realidad e imaginación, fantasía y testimonio, la audiencia es conducida a un reino de ensueño en donde coinciden historias de migración, alienación, placer, fantasía, alegría y violencia. Los peligrosos migrantes queer se toman el parque, la calle o simplemente un edificio cualquiera en medio de la ciudad para interrumpir temporalmente cómo se reproduce nuestro sentido de normalidad y seguridad. Un encuentro de corazones rebeldes, un llamado de la diáspora hacia la descolonización.

Papaya Kuir es un colectivo lesbotransfeminista de migrantes y refugiadxs latinoamericanxs en Holanda.

Pau(la) Chaves Bonilla es una coreógrafa, artista de performance, trabajadora cultural y organizadora colombiana radicada en Ámsterdam.

Créditos
Iniciado por: Papaya Kuir
Concepto y Dirección Artística: Pau(la) Chaves Bonilla
Actuación y Co-creación: Daniela Angel, Patri Roa Johansen, Liliana Estefania, Alejandra Zabala, Annette Rodriguez, Yoacin Villalobos, John Rodriguez, Nene Mone and Pau(la) Chaves Bonilla
Asesoría Artística: Flavia Pihneiros y Floor van Leuwen
Vestuario: Carly Everaert
Soporte técnico: Nadia Bekkers y Niels Runderkampos
Asistencia de Producción: Alejandra Zabala
Producida por: Papaya Kuir

Este proyecto es iniciado por Papaya Kuir y dirigido por Pau(la) Chaves Bonilla, organizado por Framer Framed.

Durante el evento podrá haber fotografía y filmación. Por favor avísenos con antelación en caso de preferir no aparecer en fotos o vídeos.

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Queer Open Stage: Act 3 © Bora Sekerci / Framer Framed

The event is free and in English. Please register via Eventbrite.

Experience a showcase by talented performers from diverse backgrounds. After the curated set, it’s your turn to take the stage! We welcome performers of all disciplines to share their talents. Whether you’re a singer, dancer, poet, comedian, or have any other unique talent to showcase, we want YOU on our stage! This is your chance to shine and celebrate the rich diversity of our LGBTQ+ community. Sign up and share your unique voice with a supportive audience. Register here to perform!

While the event itself is in English, performances in all languages are welcome. The event starts at 16:00 and ends at 18:00, so arrive early for the best seats.

While we promote and support freedom of speech, our primary focus is to create a safe and inclusive environment where both performers and the audience feel at home and secure. Hence, we prohibit any forms of hate speech or targeted attacks on a community, group, or individual.

The event may be photographed and filmed. Please let us know in advance if you don’t prefer to have your picture or video taken.

The post Queer Open Stage: Act 3 appeared first on Framer Framed.

This event is free of charge and in English. Register via Eventbrite to join us – Please bring a T-shirt or other textiles if you would like to participate in the printing workshop. 

Finissage ‘Tanah Merdeka’ © Maarten Nauw / Framer Framed

The works of Taring Padi bring attention to the struggles of different communities around the world, portraying experiences of people that are under capitalist, imperialist, and colonial oppression. The various figures and scenarios depicted in Taring Padi’s works are generated from daily conversations and real experiences of people around the world. Through co-creation, they invite us to see ourselves within or alongside them, and be moved to engage or join as collaborators in their practice.

The finissage programme aims to spotlight dynamics of the personal and the collective, as well as the emotional, physical, and spiritual existences in the continuous struggle for justice. This finissage will be an interactive immersion into understanding art as a tool for radical social change, from performances to painting to print making. There will be many opportunities to have hands-on experience with the collective’s methods to continue messages of solidarity and liberation.

Programme

Guided tour by Taring Padi
Members of Taring Padi will be present to offer a guided tour of the exhibition in Bahasa Indonesia, including the new work, Het Levende Erfenis van Koloniale Geweld/Evolusi Kekerasan Kolonial that has been in progress since the opening of Tanah Merdeka. Taring Padi will share reflections on the process of making this new banner, inspired by and created together with local communities as well as the general public in the Netherlands. While the work centres around issues of colonial violence, migrant labour exploitation, forced migration, resource extraction and techniques of occupying land, it also proposes visions of solidarity and togetherness. The work will be completed through the course of the closing weekend, and visitors are welcome to join and contribute final touches to the work throughout the evening.

Make Time for Happy Moments: Performance by Samboleap Tol
Together with Non Native Native – one of this exhibition’s main collaborators – we are delighted to invite Samboleap Tol to stage her sonic visual lecture-performance. Through her practice, Samboleap Tol strives to situate her personal experiences within the broader narratives of history and politics in order to illuminate the spiritual dimensions of activism and political existences. During the finissage, Samboleap will perform Make Time for Happy Moments, in which she reflects on her childhood as a Khmer refugee in the Netherlands.

Samboleap Tol – Finissage Tanah Merdeka © Maarten Nauw / Framer Framed

Performance by Dendang Kampungan
The band Dendang Kampungan will play music focused on driving the progressive movement forward towards a just future. Dendang Kampungan consists of members of the Taring Padi collective and is a key part of the collective’s exploration of musical expression as a form of political art. They are a punk protest music band advocating for worker’s rights, anti-corruption, and just civil systems in Indonesia. Listen to them here.

Woodcut print workshop
Woodcut prints are a key part of Taring Padi’s methods, calling for justice, peace, and education for the people. Visitors will have a chance to upcycle old clothing by printing Taring Padi’s designs onto them in an unconventional way: by dancing and stepping on the prints instead of using a machine. Make sure to bring a t-shirt or other textiles along with you to take home a part of the collective’s message.

Ucup working on the De Levende Erfenis van Koloniaal Geweld (2023) at Framer Framed, Amsterdam. Photo: Maarten Nauw / Framer Framed

The exhibition can be visited until 10 September 2023.

Tanah Merdeka is presented by Framer Framed in partnership with Brazilian Jewish cultural centre Casa do Povo and Movimento dos Trabalhadores Rurais Sem Terra (MST).

Supported by
Ministry of Education, Culture and Science; Amsterdams Fund for the Arts; Municipality of Amsterdam and VriendenLoterij Fonds.

The post Finissage: Tanah Merdeka appeared first on Framer Framed.

The event is in English and free of charge. Please register to reserve a spot via Eventbrite.

Starting from the position that the return of all colonially looted, pillaged, and stolen heritage should take place in full and without hesitation, Errant Journal #5 ‘Learning from Ancestors’ wishes to go beyond the question of ‘giving back’, and ask what is given back by whom and to whom, where, and how? In this now seemingly omnipresent discussion – which crosses communities, institutions, nation states – who is speaking, and which voices are being listened to? To do this, as is reflected in the title of this issue, Errant proposes a shift in perspective away from dominant (Western) epistemic authorities to consider other ways of sensing and experiencing the world and let this guide us in the questions we have. This necessarily means that this issue is not just about objects and their return, not just about physical ‘things’ that can change hands and location. It is also an issue about repair, without which restitution could be meaningless.

Contributors
Ariella Aïsha Azoulay, Irene de Craen, Birago Diop, Adeola Enigbokan, Robin Gray, Tonderai Koschke, Aram Lee, Lifepatch, Albert Mwamburi, Zoé Samudzi, Dewi Sofia, Rolando Vázquez, Kaiya Waerea

Continue reading
You can now support Errant Journal with a subscription! More information on how to subscribe can be found, here. You can also order your copy of Errant Journal directly online via our webshop.

Credits

Errant Journal is a cultural/political publication loosely inspired by Édouard Glissant´s notion of the Poetics of Relation in which he opposes ideas of centers, linearity, roots and dichotomy. Errant, meaning both ‘deviating from an accepted norm’ and ‘wandering’, represents a way of breaking free from the idea of identity based on origin and the possibility to possess a totality of knowledge. It is never the goal to know everything, to see and understand something in its entirety. Instead, a person who is ‘errant’ rejects the universal and challenges the idea that the world is transparent and explainable. The journal therefore plays on the phonetic of an errant journey: a kind of wandering that is neither aimless nor directed at a clear goal or on a well defined path.

Errant Journal is a concept by Irene de Craen.
Framed Framed is co-publisher and founding partner.

Cover image by Johanna Unzueta, design by Jan-Pieter Karper.

The post Launch: Errant Journal #5, Learning from Ancestors appeared first on Framer Framed.

This event is free of charge and in English. Register via Eventbrite to join (capacity is limited).

Linocut Printmaking Workshop – Photo by Bora Sekerci

The workshop will guide participants through the process of printmaking by beginning with discussions on the topics explored in the current exhibition Tanah Merdeka. In the past, printmaking was a way to bring religious and political messages to the masses. Now, contemporary printmakers work in an entirely different context. The availability of printing machines provides ways of distributing images to the public at lightning speed. In this context, the choice to create and distribute images with one’s hands can be seen as a form of resistance to the expectations of the capitalist time that encourage efficiency above all. Handmade printmaking falls outside the capitalistic line of production. It also functions as a particularly political art form because of its ability to be easily reproduced while still resisting capitalist mass production.

In this linocut workshop, Sophia Pekowsky and Ilya Genov will invite the participants to slowly delve into the topics addressed in the current exhibition. Led by discussion questions, the participants will be divided into small groups to have a conversation about their relationship with nature, land and transnational solidarity. This will inspire the participants to co-create a linocut poster where each participant will receive a piece of lino to work with that when puzzled together, will produce a collective poster formed from the shared knowledge of the group. Through this, participants will be introduced to the participatory artistic methods adopted by the collective in the current exhibition, Taring Padi.

All materials necessary for this workshop will be provided. We will also print on fabric. For this, participants are encouraged to bring clothing they would like to spruce up by printing on. The event may be photographed and filmed. Please let us know in advance if you don’t prefer to have your picture or video taken.

Linocut Printmaking Workshop – Photo by Bora Sekerci

The exhibition Tanah Merdeka brings together works by the Indonesian art collective Taring Padi and various collaborators to reflect on the concept of land and its socio-political implications through a cross-cultural network of solidarity. Tanah Merdeka is presented by Framer Framed in partnership with Brazilian Jewish cultural centre Casa do Povo and Movimento dos Trabalhadores Rurais Sem Terra (MST).

The post Workshop: Linocut Printmaking – Tanah Merdeka appeared first on Framer Framed.

The event is free and in English. Please register via Eventbrite.

Experience a showcase by talented performers from diverse backgrounds. After the curated set, it’s your turn to take the stage! We welcome performers of all disciplines to share their talents. Whether you’re a singer, dancer, poet, comedian, or have any other unique talent to showcase, we want YOU on our stage! This is your chance to shine and celebrate the rich diversity of our LGBTQ+ community. Sign up and share your unique voice with a supportive audience. Register here to perform!

While the event itself is in English, performances in all languages are welcome. The event starts at 16:00 and ends at 18:00, so arrive early to secure a prime seat.

While we promote and support freedom of speech, our primary focus is to create a safe and inclusive environment where both performers and the audience feel at home and secure. Hence, we prohibit any forms of hate speech or targeted attacks on a community, group, or individual.

The event may be photographed and filmed. Please let us know in advance if you don’t prefer to have your picture or video taken.

The post Queer Open Stage: Act 2 appeared first on Framer Framed.

Photo: Padrick Stam / Framer Framed

In the context of the exhibition Tanah Merdeka by the Indonesia artist collective Taring Padi and the masters programme Planetary Poetics, Framer Framed is excited at the opportunity to welcome Taita Hernando Chindoy for a discussion in our space. Hernando Chindoy’s work focuses on the support and encouragement of traditional medicine and knowledge, as well as raising awareness on the interconnectedness between human lives and biodiversity. The community of Colombian Hernando Chindoy exchanged poppy cultivation for coffee and fruit, thus escaping drug violence. “We may now be poorer in terms of money, but much richer in terms of knowledge, biodiversity and quality of life.” We will hear from him in conversation with artist Milena Bonilla, whose critical practice focuses on epistemic colonialism and the different ways in which its historical background and current structures affect organisms, language, imagery, social orders and the perception of history.

As Indigenous communities around the world face extreme precarity due to colonialism and its effects, especially lasting impacts on the environment and human-non-human relationships – we welcome you to listen together with us to issues facing Chindoy’s community and their efforts against colonialist erasure in its various forms. Among other topics, the discussion will address Ayahuasca’s social and medicinal uses, as well as its misuse and abuse, while pointing to efforts of strengthening Inga traditional knowledge and language.

Languages: Spanish & English

Photo: Padrick Stam / Framer Framed

Continue Reading

Taitas of the Amazon say enough to the impostors of the yagé’ and Notes on Cultural Healing and Medicine: Barbara Santos and Milena Bonilla in conversation with Rosa Elena Jacanamijoy Jacanamijoy’ in Errant Journal #2 Slow Violence.

Interview with Hernando Chindoy by Rosa Hofgärtner in Down To Earth Magazine: “Voor ons is kennis en spiritualiteit niet gescheiden” (in Dutch)

Planetary Poetics

Planetary Poetics, is a temporary masters programme at the Sandberg Instituut, initiated by and organised by artist Dorine van Meel and Josien Pieterse from Framer Framed. The programme features various partnerships to connect different social ecologies across the globe and experiment with new possibilities of collective imagination, creation and intervention.

The post A Harvest for All: Notes on Biodiversity and Medicine appeared first on Framer Framed.

Na een jaar hard werken in de schoolbanken is het bijna tijd voor de zomervakantie. Dat vraagt om een zonnig Paradefeestje: Zomer Parade Molenwijk! Op woensdag 19 juli om 12:45 vieren we het begin van de grote vakantie met lekker veel bombarie in Molenwijk.

Om 12:45 begint het feest op het schoolplein van MKC Oostzanerwerf om daarna door te paraderen naar het schoolplein van de Bonkelaar. Na afloop trekken we in een grote stoet naar Werkplaats Molenwijk voor een verfrissend drankje en gaan we muziek maken met Opa Jos en de accu fanfare!

Programma

13:45 verzamelen we op het schoolplein van MKC Oostzanerwerf om het startsein aan de grote vakantie te geven met veel bombarie

14:00 zijn we aangekomen op het schoolplein van de Bonkelaar om de kinderen daar mee te nemen voor een Parade door de buurt

14:20-30 komen we aan in Werkplaats Molenwijk voor verfrissende drankjes, plezier en gaan we muziek maken met Opa Jos en de ACCU fanfare!

Over

Pretvormer bestaat uit Nina de Jong en Nena Duinmeyer. Zij organiseren, bedenken en maken parades in buurten en op festivals. De parades op zowel festivals als in de buurten zijn een toegankelijke manier voor mensen om elkaar beter te leren kennen. Bovendien zijn ze op een inclusieve manier gemaakt, waardoor iedereen zich welkom voelt en deel kan nemen. Door deelnemers actief te betrekken bij voorbereiding en uitvoering van de parade zorgt Pretvormer voor langdurige relaties. Zowel tussen deelnemers onderling als met nieuwe tradities in de wijk.

ACCU is een begrip in Amsterdam en staat voor art, community en culture. Onder leiding van voormalig Dogtroepers Jos Zandvliet en Septimia Kuhlmann maakt ACCU al jaren prachtige theatrale voorstellingen en community art projecten in de stad.Om hun community art projecten muzikaal te begeleiden hebben zij de ACCU fanfare opgericht in 2010. De ACCU fanfare is een lopend straatorkest dat bestaat uit professionele- en amateurmuzikanten die met veel plezier, enthousiasme en uitstraling muziek bij een parade kunnen maken. Het repertoire is een mix van muziek uit alle windstreken gecomponeerd en gearrangeerd voor dit blaasorkest. De ACCU fanfare werkt op regelmatige basis samen met Pretvormer.

Parade Molenwijk wordt georganiseerd door Pretvormer, samen met Stichting ACCU en Framer Framed.

The post Summer Parade Molenwijk appeared first on Framer Framed.

The event is free and in English. Please register via Eventbrite.

Experience a showcase by talented performers from diverse backgrounds, exploring music, dance, comedy, poetry, and more. After the curated set, it’s your turn to take the stage! We welcome performers of all disciplines to share their talents. Sign up and share your unique voice with a supportive audience. While the event itself is in English, performances in all languages are welcome. Register here to perform!

Don’t miss out! Mark your calendars for 22 July, and head to Framer Framed for an unforgettable experience. The event starts at 16:00 and ends at 18:00, so arrive early to secure a prime seat.

This event is part of the 5th edition of Queer Currents festival. Queer Currents is an events platform that brings more content and culture to Queerness. Their goal is to bring more diverse and inclusive, relevant content, culture and art to the Pride Amsterdam weeks.

While we promote and support freedom of speech, our primary focus is to create a safe and inclusive environment where both performers and the audience feel at home and secure. Hence, we prohibit any forms of hate speech or targeted attacks on a community, group, or individual.

The event may be photographed and filmed. Please let us know in advance if you don’t prefer to have your picture or video taken.

Image: Raphael Renter

The post Queer Open Stage: Act 1 appeared first on Framer Framed.

Decolonizing the Gaze – Textile Cultural Heritage vs Colonialism – Cultural Appropriations? is an open debate about what different fabrics and their history tell about interculture, colonialism, and cultural appropriations. The discussion, which involves Afro-descendant stylists, artists, and fashion designers with origins from countries with a history of Dutch colonisation, intends to identify new meanings about widespread colonial dressing practices and body policies, and the effects of colonialism on the individual/collective imagination and design practices.

Together with fashion designer and creative director Zinzi de Brouwer and publisher and designer Willem van Zoetendaal, the roundtable will offer insight into the Dutch Wax fabrics and the implications of its designs and messages produced in Holland and sold in Africa – and its complex and controversial identity representation. These fabrics present images and messages that are like archives of meanings that tell of an ambiguous relationship linked to the European colonial period. Fashion designers and creative directors Semhal Tsegaye Abebe, Bubu Ogisi, and Zinzi de Brouwer will also highlight initiatives and design projects that reveal the richness of African textile heritage still little known in Europe today, and their connection with sustainability. Some of the topics brought to the discussion will emerge from a participatory workshop that Caterina Pecchioli will lead previously at CBK Zuidoost Broedplaats Heesterveld and interviews collected on these issues by Caterina Pecchioli and Roxane Mbanga between Amsterdam and Paris.

The Roundtable is organised within the framework of Decolonizing the Gaze – The Colonial Heritage of Italian and International Fashion Design and Its Impact on the Collective Imagination a project by Caterina Pecchioli which proposes a visual and historical analysis of dress items, fabrics, and accessories from the Italian and Dutch colonial period that are preserved in the collections of the Ex Museo Coloniale in Rome and Tropenmuseum in Amsterdam. A participatory study that aims to bring the Italian decolonial perspective within a live European debate on the decolonization of fashion and culture and on the political uses of fashion and clothing. The complex relationship between de-colonialism, heritage, cultural globalization, and “Made in Italy” is tackled through a program of workshops and seminars with the collaboration of institutions engaged on the subject in Italy, Holland, Ethiopia, South Africa, and the USA. In the Netherlands, Caterina Pecchioli is an artist-in-resident at the Thami Mnyele Foundation for the months of June and July 2023 to develop the Dutch stage of the project.

The event is in English. 

This project is supported by the Italian Council (11th edition, 2022), Directorate-General for Contemporary Creativity within the Italian Ministry of Culture. The programmes are in collaboration with Framer Framed (NL), Thami Mnyele Foundation (NL), Tilburg Textile Museum (NL), CBK Zuidoost NL (NL), Africa & Mediterraneo Magazine – IUAV Venice (IT)

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The fair is open to the public for free, with visitors able to buy, participate, and experience the magical celebration of PRO$PERITY NOW!

The second edition of the NNNFAIR aims to explore the intricate relationship between magic and monetary value, where spirituality and materiality intersect, and socio-political issues emerge. The fair looks for exhibitors with projects that investigate the concepts of Asian philosophies, spiritualities, and superstitions, with intangible value that can be translated into exchangeable goods. This could take the form of artworks, publications, products, services, performances, crowdfunding projects, or anything that can be presented as a subject of market exchange, an alternative narrative, and a tool for deepening dialogues on Asia in relation to the theme, PRO$PERITY NOW!

Participants

AFSAR | Ananya Panda | Another Souvenir Shop | aram lee, chen Jhen | Baby Reni | Beng Yuenyong | Benjamin Li | Bin Koh | Bumblefly Studios | Chongjin Chen | Dugae Kongkang | Edison | Fileona Endoxa Dkhar | Handi Kim | Jale Sezgin | Jihyun Park, Damchi | Jing He & Echo Wang | Juhee Han | Julia Diệp My Feige | Jun Zhang | Lee Teng Poh | Limestone Books | Lin Chun Yao | Linhuei Chen | Marcos Kueh | Mmm… Money Pie | Noon Passama | Not Just a Collective | pansy | Qiaochu Guo | Rah Naqvi | Richard Weaver (Studio Imaginalis) | Rucha Kulkarni | Samboleap Tol | Shannon Liang | Silang Mera, Dagat Mera, Liza Goodstein | Simo Tse | Sojung Lee | Sol Enae Lee & M.C. Julie Yu | SOUPSPOON Collective | T0ble of Neo Amsterdammer | Te Petchara | the Waew Food Programme | Tianyi Zheng | Trang Nguyen | Xiang Yu Yeung | Xiao Yu | Yin Yin Wong | Ying Yi Wu | yourfriendkas | Yu Wang & Dachen Bao | Yu-Tzu Huang | Ziqi Xu

Non Native Native is a cultural platform which looks into the diasporic Asian creative landscape in the Netherlands through the lens of outsiders from within. It serves as an alternative space for critical creatives practising between the Asian and European cultural landscapes, with a particular focus on contemporary visual culture.

Locatie
Framer Framed
Oranje-Vrijstaatkade 71
1093 KS Amsterdam

Opening Times
Friday 14 July, 12:00 – 18:00
Saturday 15 July, 12:00 – 18:00
Sunday 16 July, 12:00 – 18:00

Free entry

For more information, visit the NNNFair website.

Photo from the launch of Non Native Native Fair (2023) at Framer Framed, Amsterdam. Photo: © Sankrit Kulmanochawong.

This project is in collaboration with Framer Framed, NON NATIVE NATIVE FAIR 2023 is realised with the support of AFK – Amsterdams Fonds voor de Kunst and Stimuleringsfonds Creative Industries.

The post NON NATIVE NATIVE FAIR 2023: PRO$PERITY NOW! appeared first on Framer Framed.

Framer Framed and the Vrije Universiteit Amsterdam (Institute for Societal Resilience) organised the youth project Youth Leadership & Resilience in collaboration with ASKV, Giving Back Projects, Dreamers NL and Kenniscentrum Ongelijkheid Amsterdam. Within the project, we organised workshops with and for young people (without proper residence permits) as well as a final product focusing on the stories of the participants.

During the Youth Leadership & Resilience project, the participants had the opportunity to participate in workshops and to give workshops themselves. Within all workshops the focus was on creative storytelling, in which spoken word, videography, writing, dance and music played a role. Together, they reflected on the resilience, dreams, ambitions, talents, knowledge, leadership, identities, experiences and stories of these young people.

An integral part of Youth Leadership & Resilience is the concluding final presentation, in which, once again, storytelling is the guiding thread. With their own perspective and with the knowledge gained in the workshops, the young people will take visitors into their stories during an evening at Framer Framed.

Youth Leadership & Resilience is part of the Amsterdam – All Inclusive research programme of the Kenniscentrum Ongelijkheid. In collaboration with research and social partners, the multi-year programme focuses on research into how institutions contribute to inequality in the city. In the Youth Leadership & Resilience project, Framer Framed joined forces as a social partner with research partner the Vrije Universiteit Amsterdam (Institute for Societal Resilience).

A collaboration between Framer Framed, Vrije Universiteit Amsterdam (Institute for Societal Resilience), ASKV, Giving Back Projects, Kenniscentrum Ongelijkheid Amsterdam, Dreamers NL.

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Framer Framed
June 28, 18:00 – 19:30

There is limited space for the screening, please register through our Eventbrite.

Land Rifts: Extraction and Sedimentation presents two researched-based film works by artists and filmmakers Ana Bravo Pérez and Marwa Arsanios. The event invites a conversation about the relationship between ecosystems and coloniality, in particular regarding the practices of land ownership, extraction, as well as strategies for a more communal relationality with land. In Mother Earth’s Inner Organs (2022), Ana Bravo Pérez follows the trail of resource extraction to the Netherlands from the Wayú territory in the North of Colombia, from the Earth’s surfaces to its depths, to offer a reflection on the destructive relationality of extractivist practices. Marwa Arsanios, leaping forward from a similarly destructive trail in Who is Afraid of Ideology? Part 4: Reverse Shot (2022), stages a discussion and an experiment carried out by herself and her collaborators about land usership over land ownership in the North of Lebanon, to sediment the idea and the communal practice of a sustaining relationality with the land as a common, which is able to exist even within contemporary realities.

Mother Earth’s Inner Organs

Ana Bravo Pérez
22 mins | 16mm, 4k | 2022 Spanish | Wayuunaiki | English | Dutch
This film is a journey from Amsterdam to Wayú territory in the North of Colombia following the smoke, the rotten smell of burning Mma – meaning Mother Earth in Wayuunaiki. Bravo Pérez weaves a narrative that goes from the surface of Mma to its depths. From the experience of the Wayú people and the filmmaker’s reflection on extractivist practices to plastic experimentations that create a lucid dream, an eye-opener to how extractivism of coal affects life.

Who is Afraid of Ideology? Part 4: Reverse Shot

Marwa Arsanios
35 mins | digital video | 2022 Arabic | English
The film Who is Afraid of Ideology? Part 4: Reverse Shot departs from a collaborative project that is attempting to shift the status of a private land in the North of Lebanon to a common or a social waqf. The aim would be to advance the right of usership over ownership. The land would only be used by people who do not own a land for agricultural purposes. The film follows this process and adds to it a reflection on the way land as a living object inherently resists property. Matter and land become a witness to a certain history of non-ownership. The interconnectedness of the geological, the historical, the legal and the agricultural brings forward a kind of ecology of thought which purpose is communalisation and rehabilitation.

Image: Marwa Arsanios, Who is Afraid of Ideology? Part 4: Reverse Shot, 2022, digital video, 35 mins, video still. Courtesy of the artist.

This programme is a collaboration between Framer Framed and the Amsterdam School for Cultural Analysis (ASCA), University of Amsterdam.

The post Screening: Land Rifts – Extraction and Sedimentation appeared first on Framer Framed.

Tanah Merdeka

Drawing from the Indonesian expression ‘tanah merdeka’ (liberated land/space), the exhibition sees land as a broad concept with many complexities. It considers forces of extraction, preservation, colonisation, occupation, identity, and emancipation, and thinks of land not only as a physical and territorial site to be protected, defended, and reclaimed, but also as a spiritual, cosmological, and vibrant space that enables different forms of interrelation, conversation, and genuine exchange beyond boundaries.

In 2022, together with participants of the Wayang Kardus Workshops at Framer Framed and other locations, Taring Padi co-produced cardboard puppets that were later presented at documenta fifteen in Kassel, Germany. Tanah Merdeka (2023) continues this approach with the realisation of new collaborative works. During a one-month residency in Brazil, four members of Taring Padi developed Retomar Nossa Terra / Rebut Tanah Kita (2023)  in collaboration with the Jewish Brazilian cultural centre Casa do Povo and the Brazilian landless movement, Movimento dos Trabalhadores Rurais Sem Terra (MST), followed by the production of the banner De Levende Erfenis van Koloniaal Geweld (2023) at Framer Framed in Amsterdam.

The exhibition also speaks to the importance of open, collective conversation as a transformative tool for dealing with issues that are interlaced with forms of racism, colonialism, capitalism, and patriarchal structures. Following discussions about the depiction of antisemitic figures in one of Taring Padi’s earlier works and motivated by the collective desire for a restorative process, the ongoing partnership with Casa do Povo is based on the idea that stand-alone denunciations of any kind of prejudice are not enough to create effective transformation.

Tanah Merdeka is at the same time a presentation of work by Taring Padi and the result of intensive collaboration with various groups in Brazil and the Netherlands, roundtable discussions, and a public program. It aims to create an open field to critically engage with the legacy of colonialism, as well as a transformative space that restores connections between communities and our relationships to land. Reflecting the continuous change of land over time, the works will evolve throughout the exhibition as individuals, communities, and collectives of Moluccan, Papuan, Indonesian, and Indonesian-Jewish backgrounds will respond to the exhibition and collaborate to co-create new works.

Opening Program

With contribitions by:
Josien Pieterse,
Alex Supartono,
Richard Bell,
Alfian Emir Adytia.

Taring Padi at the opening of Tanah Merdeka (2023) at Framer Framed, with on the background the new banner Retomar Nossa Terra / Rebut Tanah Kita (2023). Photo: Maarten Nauw / Framer Framed

Side presentations

Throughout the evening, visitors are welcome to explore the adjacent exhibition Anonim by Atelier KITLV-Framer Framed artist-in-residence Theo Frids Marulitua Hutabarat, as well as contributions by artists that will inform Non Native Native’s upcoming fair PRO$PERITY NOW!.

Supported by
Ministerie van Onderwijs, Cultuur en Wetenschap; Amsterdams Fonds voor de Kunst; Gemeente Amsterdam and VriendenLoterij Fonds.

The post Opening: Tanah Merdeka appeared first on Framer Framed.

Taring Padi’s works are mostly produced collaboratively in open workshops with communities and within specific cultural and political contexts. For the exhibition Tanah Merdeka (2023) at Framer Framed, Taring Padi have co-created a variety of new artworks that convey local socio-political issues in Brazil, Indonesia and the Netherlands. These include large-scale banners, woodcut prints and wayang kardus displayed in the space.

This conversation wishes to invoke thoughts and cultivate potential knowledge on artistic practices which takes into consideration the divergent aesthetics, affects and political engines that drive a creation in/with collectives. In the first part of the conversation, members of Taring Padi will share their process of creating banners, wayang kardus, woodcut prints etc. as forms of solidarity and social justice, using their recent residency experience in Brazil with Casa do Povo and MST as an example.

In the second part of the conversation, we invite curators and researchers working in art spaces and museums to respond to the works of Taring Padi by bringing in ideas of community, collaboration, co-creation, co-collection within the discourse of contemporary art as well as in relation to broader social-political debates. Together we will discuss how these notions might mean for future practices concerning authorship and ownership within art institutions.

Retomar Nossa Terra (2023) by Taring Padi, Casa do Povo, MST and Framer Framed. Photo: Maarten Nauw / Framer Framed

Programme

15:00 – 15:10 Introduction
15:10 – 15:25 Taring Padi
15:25 – 15:40 First Discussion and Q&A
15:40 – 16:00 Horikawa Lisa
16:00 – 16:20 Josh Milani
16:20 – 16:40 Tanja Boon
16:40 – 17:00 iLiana Fokianaki
17:00 – 17:30 Second Discussion and Q&A
17.30 – 18.00 Drinks

Speakers

Alexander Supartono is one of the founding members of Taring Padi, a collective of artists from Yogyakarta, Indonesia.

Horikawa Lisa is overseeing the strategic development and sustainable promotion of collections including artworks and archives at the National Gallery, Singapore.

Josh Milani is director of Milani Gallery, Meanjin/Brisbane.

Tanja Boon is curator at S.M.A.K., Gent.

iLiana Fokianaki is a curator and founder of State of Concept Athens.

Moderator

Wayne Modest is Director of Content of the National Museum of World Cultures and professor (by special appointment) of Material Culture and Critical Heritage Studies at the Vrije Universiteit, Amsterdam.

Image: Taring Padi. Detail of Lukisan tokoh masyarakat adar (2012). Courtesy of Artist.

The exhibition Tanah Merdeka is supported by Ministerie van Onderwijs, Cultuur en Wetenschap; Amsterdams Fonds voor de Kunst; Gemeente Amsterdam and VriendenLoterij Fonds.

The post Roundtable Conversation: Tanah Merdeka appeared first on Framer Framed.

This event is free. Register through Eventbrite here.

Storytelling has long been an important and practice, as a means of education or in connection to our cultures. Charging Myths tells the story of lithium, which is extracted and undergoes various changes in order to be fit for technological use. Through their exhibition at Framer Framed, the artists of On-Trade-Off have brought us closer to this mineral and shared both its intimate and global story. By highlighting its journey from source to its social relations and geopolitical consequences, lithium as an object or concept has been transformed.

Following On-Trade-Off’s angle of approach, Framer Framed invites other artists to tell stories behind objects or materials, from their natural source to its outer use or finished product in a reflection of Charging Myths. What can we learn about ourselves and the worlds we inhabit through stories?

The performances, conversations and stories of the event will be compiled into a zine, produced in collaboration with the artists, On-Trade-Off and Framer Framed. Read the zine here!

With contributions from:
Greet Brauwers
Raf Custers
Némo Camus
Esther Mugambi
Luigi Coppola
Lucrezia Cippitelli

A Seat for the Sea

Research project by Greet Brauwers & Raf Custers

Deep sea mining (DSM) is rapidly coming to be, after a false dawn in the 1970s, a devastating reality. From four to five kilometres below sea level to the depths of the seabed, the process is hidden from our view. How can our imaginary make visible what is beyond human perspective? At Framer Framed, Greet Brauwers & Raf Custers address two angles that factor into the mainstream narrative of DSM. In the project, A Seat for the Sea, Greet Brauwers and Raf Custers research whether the sea has a voice and how to amplify it.

Ex-Situ: Compatible with Life

A book presentation with Luigi Coppola & Lucrezia Cippitelli

Ex-Situ: compatible avec la vie / Compatible with life is a project conceived by Luigi Coppola and curated by Lucrezia Cippitelli for the 7th Biennale of Lubumbashi, through the theme of Toxicity (October- November 2022). It was developed with site specific research in Lubumbashi, Democratic Republic of Congo, within the framework of Atelier Picha’s educational programme. The book invites us to become allies with plants. Plants allow us to tell sometimes painful stories and penetrate the stratification of history. Their roots inhabit it, and their seeds sprout, giving new meanings to it. The intensity and violence of enduring colonialism and its extractive processes imperil the planet. The project aims to repair an ecosystem, and to act beyond the global economic system, including its values, narratives, teachings and institutions that produce our identity-driven, consumerist, nationalist societies. Acting with the culture of remedial plants, tilling the detritus of toxic ecosystems, and regenerating them, Ex-Situ proposes cultivating a new sensibility of radical care.

Matter (dark, blue, white)

Performance by Némo Camus & Esther Mugambi

Matter (dark, blue, white) is a sound experiment around the issue of “green” energies in general, and lithium in particular. Based on field recordings made with the artisanal “diggers” of Manono, the capital of the Tanganyika province in DR-Congo where one of the world’s largest lithium reserves is located, Matter (dark, blue, white) unfolds a sonic and poetic journey through our technological lifestyles and their implications elsewhere in the world. This sound performance, conceived in collaboration with the artist Esther Mugambi, aims to put in resonance “our” words here, with those of the workers of the Manono mines there. Matter (dark, blue, white) is also intended to be a place for reflection and a problematisation of the artist’s approach (going to the other side of the world to record in order to give voice) thought through the prism of symbolic extraction (the hold and appropriation of the resulting stories). How can we get out of the extraction paradigm when we create from situations that a priori only concern us from afar? What kind of relationship and collaboration should be put in place? How can we avoid the pitfall of a catalogue of exploitations and work in depth on an ethic of relationship that is useful for current and future struggles? How can we succeed in “doing with” and no longer “on”?

Credits:
Conception: Némo Camus
Texts and performance: Esther Mugambi et Némo Camus
Scenography: Cassandra Cristin
Technical support, mixing and sound engineering: Éric Morel

Sound filming:
Recording: Némo Camus
Fixer: Emmanuel Longo Masengo
Chauffeur: Ilunga Wa Ngoy Ilus

A production of Le Bruit et la fureur. Project supported by Écolo, the Bureau International Jeunesse, Picha, the Bellone, iMAL and the Institute for Colonial Culture (ICC).

This programme is part of Amsterdam Art Week 2023.

The title of this event is taken from the poem, We are a New Sun by Pélagie Gbaguidi featured in Charging Myths.

Translated by Pélagie Gbaguidi & On-Trade-Off
Reading by Obiageli Okigbo

The poem was written by Pélagie Gbaguidi based on exchanges with the On-Trade-Off members, with thanks to everyone else involved, all the translators, the performers and Némo Camus for the sound piece.

The post Finissage: Charging Myths - 'In words nourished' appeared first on Framer Framed.

The event is free admission. Please register via Eventbrite

What do buzzwords like coops, commons, and the social and solidarity economy exactly mean in the day-to-day practices in the art world? How can these concepts apply to the everyday life of the artists, or shifting routine organizational patterns in cultural spaces, or even the democratizing funding systems? Furthermore, can art contribute to a more equitable society with these practices, while liberating itself from the never-ending circles of “show business”? 

Similarly, the nascent web3 scene has comparable sets of concerns dubbed by technical jargons like DAOs, Governance Tokens and NFTs. By leveraging the power of decentralised networks, it can authenticate without central authorities, organize with flexibility and horizontality, and automatically execute collective agreements. Thus, it enables new models of ownership, funding, and collaboration that challenge traditional power structures and facilitate more equitable, sustainable and inclusive forms of community artistic practices. 

How do these technological affordances help transform the way artists, cultural spaces, and communities interact and exchange value with each other? What does blockchain technology offer for collective practices and funding pipelines? How can blockchain empower a new generation of art to challenge hegemonic funding structures? Can it support independent cultural spaces and art collectives to organize differently beyond the influences of Big Tech? And finally, how does the art world respond and engage with the legal, political and environmental implications of this new technology?

During Towards Decentralised Art Infrastructures at Framer Framed, we invite speakers who approach blockchain from the perspectives of system designer, art collective, creative technologist and academia, exploring the societal, economic, environmental and artistic implications of blockchain technology and its significance for building decentralised art infrastructures.

Speakers

Yin Aiwen will moderate the conversation by opening with her co-initiated project Commons.Art, a research & development project to create ‘maintenance economy’ for socially-engaged art and enduring collective, institutional practices, through the lens of decentralized tech.

Yazan Khalili will talk about Dayra, a project of the Palestinian art collective The Question of Funding, a medium that uses blockchain technology, designed for circulating communal wealth within existing trust circles. It aims to allow interdependency between different economies in the society through measuring, sharing, and exchanging the value of their local resources.

Arthur Steiner will share the learning and prototyping journey at Framer Framed and the findings of the project Energy Tokens, which was launched during the Charging Myths exhibition. 

Balázs Bodó will speak about the legal, and political effects of blockchain based technologies and the implication for copyright and cultural policies 

Programme

16:00 – 16:10 Opening – Introduction
16:10 – 16:30 Yin Aiwen
16:30 – 16:50 Yazan Khalili
16:50 – 17:10 Arthur Steiner
17:10 – 17:30 Balazs Bodo
17:30 – 17:40 Break
17:40 – 18:00 Q & A /  Roundtable talk 

This event is programmed within the context of The Energy Tokens project, supported by Stokroos.

The post Towards Decentralised Art Infrastructures appeared first on Framer Framed.

Introduction to Nonviolent Trainer Network
Part of the day is a workshop by the Nonviolent Trainer Network, a network of trainers who provide nonviolent training to social groups and various small groups. Even now, people are coming together to challenge injustice, overcome oppression, and build a more peaceful world. Nonviolence Training is a participatory, inclusive, and dynamic workshop aimed at developing and promoting the skills people need to resist systemic injustice. There are currently 15 trainers participating in Nonviolent Trainer Network, all of whom have been involved in social movements for a long time as activists and artists.

Participants
30 Gwangju citizens per session (individuals or groups can apply)

Schedule
14:00-14:15 Exhibition Tour with Juhyun Cho, Curator of the Dutch Pavilion at the 14th Gwangju Biennale
14:15-15:30 Training by Nonviolent Trainer Network, Kim Cha-rang, Joo Young-ho,
15:40-17:30 Program for High School Students in Gwnagju (arranged by Gwangju Office of Education

Location
Gwangju Museum of Art
52 Haseo-ro, Buk-gu
Gwangju, South Korea

The post Training: Future Drawing – A world without war and climate crisis appeared first on Framer Framed.

In Extractive Terrains invites artists and researchers who are from and work with the environments of Central Asia and Ukraine, regions which share a past of Russian imperialism and colonialism in connection with their natural resources. Since independence in 1991 coal, crude oil and natural gas have been sources of income as well as sites of contestation for the biggest players of the fossil fuel industry. Something much less visible or discussed is the environmental cost of these various legacies, which have laid the structures for further extraction and contamination in the future.

Both regions are also rich in critical materials needed for the green energy transition, with Central Asia holding almost 40% percent of the global reserves of minerals such as copper, chromium and manganese. Kazakhstan, in particular, is one of the world’s largest producers of uranium. Meanwhile, Ukraine holds large reserves of lithium, and has been colonised for its natural resources, such as coal, with (environmental) consequences felt to this day.

Artistic practice and research offers a space where these different dimensions are made graspable and are presented as in relation/entangled with one another. The film Terimatu by Haider Mukhit focuses on North Kazakhstan’s mining industry and the history of mine worker’s strikes suppressed by Soviet colonial power. Zhaishylyk’s Concrete Enema follows a river in the south of Kazakhstan contaminated with mining waste and carrying this contamination to the populations around the river, including the artist’s own family.  Finally, Tsymbalyuk’s work connects us to the east of Ukraine, weaving the region’s coal history with Soviet executions and plant fossil archives.

Programmed within the context of Framer Framed’s exhibition Charging Myths – exploring the effects of lithium mining in Manono, DRC –  this event takes a broadened view of the implications of extractivist structures across different territories.

Programme

15.00 Word of welcome
15.10 Screening Temirtau, by Haider Mukhit
15.25 Presentation by Darya Tsymbalyuk
15. 50 Screening Concrete Enema, by Aiym Zhaishylyk
16.00 Reflection by Fabienne Rachmadiev
16.10 Roundtable and discussion, moderated by Asel Kadyrkhanova.

Image: Untitled (2019), Darya Tsymbalyuk. Courtesy of the artist.

This event is produced in collaboration with ASCA (Amsterdam School for Cultural Analysis) of the University of Amsterdam.

The post In Extractive Terrains appeared first on Framer Framed.

Following the publication launch at San Serriffe on 19 May, visitors can experience the sound art piece conceived by Marjet Zwaans at Framer Framed on 20 May.

The live performance choreographed by Anna Orlikowska will be presented at Framer Framed on 21 May.

Register here for the performance on 21 May.

Inspired by self-described “black, lesbian, mother, warrior, poet” Audre Lorde’s writing,* What are the words you do not have yet? hints at a sincere inquiry for the unknown. With a curiosity for voices that are unheard, silenced, or not yet documented, the project opens up conditions for their utterances. Envisioned by Naz Kocadere, the framework of the project emerged from a dedicated interest in and research into language systems and the linguistically intangible.

What are the words you do not have yet? brings together limited edition printed matter accompanied by performative elements that expand throughout three venues in Amsterdam: San Serriffe art bookshop, Ja Ja Ja Nee Nee Nee radio space and Framer Framed.

Experimenting across artistic mediums including sound, image, installation, and performance, contributions by artists Anna Orlikowska, Gülşah Mursaloğlu, and Marjet Zwaans explore a widening of perspectives beyond the homocentric approach.

Gülşah Mursaloğlu, Devour, Filter, Tremble

Publication Launch
Friday 19 May
San Serriffe, 19:30 – 21:30

Marjet Zwaans, Correspondence For Choir [5.1]

Sound art piece broadcasted on Ja Ja Ja Nee Nee Nee radio station. Conceived by Marjet Zwaans, in collaboration with composer Sachit Ajmani and singer Jeske de Haart.
Saturday 20 May
Radio & Framer Framed, 15:00 – 18:00

Anna Orlikowska, If I were a bird, would I be able to say more?

Live choreography by Anna Orlikowska, collaboration with Miriam den Boer (violinist), Irene Sorozabal Moreno (singer and flautist), Felicity Provan (trumpeter and singer), and Camille Verhaak (clarinet player).
Sunday 21 May
Framer Framed, 19:00 – 21:00

Register here!

*Audre Lorde, The Cancer Journals, Aunt Lute Books, 1980.

In her set of graphic notations titled If I were a bird, would I be able to say more? Anna Orlikowska intertwines individual expressions with graphic equivalent of bird sounds. Analysing alternate methods of comprehensive listening experiences in nature, particularly through the language of birds, the notations are accompanied by a performance that will take place at Framer Framed on Sunday 21 May at 19:00.

The performance gathers four musicians who interpret the graphic notation featured in the publication, surveying the sonic properties of the space, while expanding the potential of a dialogical relationship, via the communication of birds.

On the other hand, Marjet Zwaans takes lichens as a starting point in defining a healthy environment in nature. Building her insight throughout research on lichen and how it benefits interaction of a symbiosis of multiple algae and fungi, she forged a bond with the interdependency of a choir mutually nourishing and strengthening one another. The most recent production of the ongoing series is presented under the same title, Correspondence for Choir [5.1], in twofold: as an embossed lichen figure in print and a pre-recorded performance broadcasted via radio.

In her multifold diagram in print, titled Devour, Filter, Tremble, Gülşah Mursaloğlu presents ancient filtration systems. Investigating the particles that migrate from one body to the other through water, she points out the ways humans have tried to get rid of these particles across different timelines. The work highlights bodily consumption as a realm in which many bodies and agencies are intertwined and entangled.

The printed matter will be available to purchase from San Serriffe and the Framer Framed Bookshop.

Designer: Eli Bensusan

What are the words you do not have yet? is supported by the AFK (Amsterdams Fonds voor de Kunst).

The post Launch & Performance: “What are the words you do not have yet?” appeared first on Framer Framed.

The live performance Electrify Everything: Experiments and Observations on Electricity translates the seductive and captivating magic of demonstrations of the eighteenth-century Enlightenment into a critical exploration of the origins of the units and language used to measure electricity. The field of electricity has been developed, manipulated, and named for three centuries to control and apply it.

Electrify Everything invites the audience to reflect on the structuring power of electricity and its relation to resources and exploitation. Pom Bouvier-b. and Marjolijn Dijkman use an experimental technique that brings the organicity back into a phenomenon that, by nature, through the displacement of elementary particles of matter, is dynamic and living. Together they have developed experimental musical tools to play live with electric currents. They will create a sound composition using the electric charge of specific objects and devices as a medium, playing on the variations of magnetic fields.

Jean Katambayi Mukendi wrote a text for the performance based on the language of electricity. The units of electricity create different chapters that explore the history and the current state of energy production in an associative and poetic interpretation of electric terminology. Trained as an electrician, his works are part of a search for solutions to social problems in Congolese society and the country’s depletion of its enormous energy resources.

This performance offers a unique chance to revisit the exhibition Charging Myths (2023) by the collective On-Trade-Off, and featuring artworks from Jean Katambayi Mukendi and Marjolijn Dijkman.

Register here!

Sound composition: Pom Bouvier b.
Text, activation Electric instruments, visuals: Marjolijn Dijkman
Text and vocals: Jean Katambayi Mukendi

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