A self-organized exhibition taking place in the private homes of Amsterdam-based artists.
Sander Breure and Witte van Hulzen
Maria Lalou & Skafte Aymo Boot, [UN]FINISHED
Tomo Savić - Gecan
Tao G. Vrhovec Sambolec
Home Sequence is a self-organized exhibition taking place in the private homes of Amsterdam-based artists on the weekend 14 - 15 July 2018, with opening on Friday, 13 July 2018.
During this weekend artists temporarily transform their homes into exhibition spaces. Home Sequence is framed by a series of invitations from artist to artist, who either exhibit together in one home or each in their own homes. As such this expanded group exhibition is imagined to cast an open net that connects a route through the city.
The initial idea for Home Sequence comes from an impulse to instantly make an exhibition. The most immediate way to accomplish this appears to be the use of the spaces we already inhabit.
Home Sequence is a gesture that addresses the politics of space and representation, inverting the role of the artist as guest in public space to that of host in private space. It is simultaneously a withdrawal from public space and a making of one’s own space public through an invitation. Home Sequence is an experiment that aims to unsettle the relations between the public and intimate space of dwelling, without knowing where this experiment will lead. We hope that such an exhibition will provide ground for a sort of a neighbourhood to emerge – one that could continue on the basis of an immaterial topography of mutual affinities that might quietly already exist.
Home Sequence is initiated and organized by Sascha Pohle and Tao G. Vrhovec Sambolec.
Home Sequence is organized without public funds and is fully funded on the part of the participating artists.
Exhibition Dates: 14 – 15 July 2018
Time: 14:00 – 19:00
Opening event will take place on Friday, 13. July 2018 from 18:00 – 21:00.
The single location of the opening is included in the Places and Schedule document.
Places and Schedule:
In order to receive the list of home addresses and the events schedule please RSVP to the email address: email@example.com
We kindly ask you not to circulate this document in order to keep overview of who obtained the list of private addresses of the participating artists.
HOME SASCHA POHLE, FLO MAAK
Flo Maak (Invited by Sascha Pohle)
Friendly Patterns III
Friendly Patterns III is the third edition of an exhibition collaboration between Flo Maak and Sascha Pohle, of which the first two were in Seoul and Frankfurt in 2016 and 2017, respectively. Now in Amsterdam, their works temporarily inhabit Pohle’s home, weaving an open net of human relationships and affairs between image and object, urbanity and nature, public and intimate, mimicry and migratory figures.
Entering the house, the visitor is immediately welcomed by images pasted to the wall and overlapping framed photographs by Flo Maak. String Stories (2017) is a photographic series depicting the abandoned spiderwebs of the Korean golden silk spider, all taken in front of coloured backgrounds using artificial light, thus rendering the fine threads visible. For this exhibition, Maak has taken a small selection from this series and combined it with new drawings of string figures. Cat’s Cradle drawings appropriated from ethnologist Caroline Furness Jayne's 1906 book String Figures and How to Make Them and an index informing how this game is embedded in local narratives, are installed in corners of the apartment—sometimes intersecting, sometimes blending into the architecture, often referring to each other on a formal level—inviting the viewers to step in and spin their own webs of relations.
In the living room, the furniture has been replaced by a large white pedestal upon which sits Passage. Sascha Pohle’s ongoing work of knitted wools bearing abstract patterns is based on digital photographs of cracked urban asphalt. In Passage, photographs become pixelated knits and solid terrain transforms into soft, mobile, and versatile objects. During the exhibition, the knits will continuously be folded and arranged into various shapes and patterns, unrolled by a tangible walk of a performing flaneur.
On the second floor, the living room’s relocated furniture serves as a display for After the Gift - Given Time (ongoing) and After the Gift - Blossfeldt’s Fan. Peculiarly shaped woven bamboo objects standing on shelves and tables are transfers from the plant studies by German photographer Karl Blossfeldt, who uncovered the vast palette of patterns and architecture in nature (Art Forms in Nature, 1928, Berlin, [Wasmuth]). A QR-code written on the wall is linked to the video After the Gift - Blossfeldt’s Fan, a visual and mimetic play between Blossfeldt’s photographs and Chinese woven hand fans that further speculates on an “after"-life of the gift that binds giver and receiver into a continuing relationship.
Flo Maak (born 1980) is an artist living and working in Berlin, Germany. His work is based on photography, extends to installation, text, sculpture and video, and explores the relation between pictorial and exhibition space. He has regularly collaborated with other artists and continues to work with the filmmaker and artist Lasse Lau. Maak studied fine arts with Wolfgang Tillmans and Willem de Rooij at Staedelschule, Frankfurt am Main and at Cooper Union, New York. He taught as an assistant professor for fine art photography at Chung-Ang University, Seoul from March 2013 till February 2017. Selected solo exhibitions include “Technologies of the Kitchen” at Pro Arts, Oakland (2017), “Friendly Patterns” at gallery Bernhard Knaus, Frankfurt (2017), “In/Off The Grid” at 공간291, Seoul (2016), “DANGER” at Corner Art Space, Seoul (2015), “-graphie” at von Cirne, Cologne (2013), "Nichts tun wie ein Biest" at Bielefelder Kunstverein (2009), "Trompe-l'eil Polizei" at Frankfurter Kunstverein (2008) and "silent specters" at JET, Berlin (2006). Selected group exhibitions include “Europe in China” at Sculpture Museum, Quingdao (2017), “On the Possibility of Life in Ruins” at Huset for Kunst og Design, Holstebro (2017), “Scattered Showers” at Frankfurter Kunstverein (2013), “After Prisma” at Villa Romana, Florence (2011) and "I Animal! (You Human)" at Perla Mode, Zurich (2010).
Sascha Pohle (1972) is an artist living and working in Amsterdam and Seoul. In a lot of his recent work left-over objects of daily use, commodities and (media) artefacts become rearranged in a new time and space context and imbued with historical evocations. Drawing from various film, material and art historical references, Pohle mimics, reinterprets and deals with representations of our visual culture, built through collections, memories and appropriations. He studied at Staedelschule in Frankfurt an Main and was in residence at the Rijksakademie voor Beeldende Kunsten in Amsterdam. Currently he is an assistant professor for fine art photography at Chung-Ang Universit, Seoul. Recent group exhibitions are The 3rd Today’s Documents BRIC-á-brac The Jumble of Growth, Today Art Museum, Beijing; Globale: Global Control and Censorship, ZKM, Karlsruhe; Home Sequence, Rongwrong, Amsterdam; Plastic Myths, ACC Asia Culture Center, Gwangju; GRANPALAZZO, Rom, National Centre for Contemporary Arts (NCCA), Moscow. In 2012 Pohle won the Principal Price at the 58th International Short Film Festival Oberhausen.
HOME MARIANNE FLOTRON, SAŠA KARALIĆ
Marianne Flotron (Invited by Sascha Pohle)
Sarajevo (2018, work in progress)
The project is based on four short anecdotes about "encounters" with the painter Ferdinand Hodler and his work. Based on the stories I explore the theme of property in art and its influence on the viewing and understanding of art. For Home Sequence, I will show the anecdote Sarajevo.
The work is supported by Pro Helvetia, CH and Mondriaan Fonds, NL.
Marianne Flotron (b. Meiringen, CH, 1970) is mainly interested in the interrelationship between political and economic systems and human behavior. How the subject creates the society and how, in return, the society is creating its subjects, forms a basis for her work. Recently she employed different techniques based on role-playing and introduced them to actual situations exploring the impact of social science on behavior.
She currently lives and works in Amsterdam (Netherlands). After two years of studies in history in Zurich, she continued courses at the School of Fine Arts of Geneva (Switzerland), where she earned her degree in 2001. From 2007 untill 2008 she was in residence at the Rijksakademie voor Beeldende Kunsten in Amsterdam. She won the Swiss Art Awards in 2003, 2007 and 2009. In 2008, she received the Aeschlimann Corti award from the canton of Berne, CH and since 2009 her work is supported by the Mondriaan Fonds, NL.
She had her first institutional solo exhibition at the Kunsthalle Bern in 2011. Other international exhibitions include “Monumentalisme”, Stedelijk Museum Amsterdam, NL (2010), “Marianne Flotron, Pilvi Takala”, ar/ge kunst Galerie Museum, Bolzano, IT (2013) “Momentous Times”, Center for contemporary art, Derry-Londonderry, UK (2013) , “Liquid Assets”, Steirischer Herbst, Graz, AUT, (2013) ‘The Working Life’, Institute of Modern Arts, Brisbane, AU, (2014) , ‘Playtime’, Biennal d’Arts Contemporain de Rennes, Rennes, FR, (2014), „Crisis of Ideology“, Kunstraum Niederoesterreich, Wien (2016)
Saša Karalić (Invited by Marianne Flotron)
Square / Kvadrat (2012 - ongoing)
Square project consists of a 30 by 30 meter landmark and a documentary video following its construction. The landmark was made on the steep side of the hill Kik in the north-west of Bosnia and Herzegovina where 30 years ago was standing another landmark – large white letters „Tito“ spelling the name of then recently deceased president of socialist Yugoslavia. The landmark was constructed by a group of socialist youth and was maintained until the end of 1980s when it lost its social and political function and slowly got overgrown with bushes and trees. In the summer of 2012 I proposed construction of another landmark on the same location – a simple form of a square that should serve as a political site without a predefined political agenda. The hill was cleared and the stones of the old landmark were found, dug out and used for the construction. Around 30 volunteers joined the construction of the landmark, which has been inaugurated in summer 2012. The year after, in the summer of 2013, the video Square was shown in a makeshift cinema to the local population who attended the event in large numbers.
By reconfiguring symbols and reaffirming collective work, the project Square touched upon the question of political self-organisation. The memory of collectivity, as it once was clearly defined by socialist ideological framework, served as a base for the project but not as its aim. The new symbol was not offered as a solution but as an outlined empty space in which everything is yet to happen – through its simplicity and fragility (the square can be quickly and easily taken apart), it invites future revisions and reconfigurations and new forms of political thinking.
Saša Karalić (b. 1970) studied language and literature at the Faculty of Philosophy, University of Novi Sad, Yugoslavia and graduated from the audio-visual department of the Gerrit Rietveld Academy, Amsterdam. He currently teaches time-based arts at the Gerrit Rietveld Academy.
In his work, Karalić is primarily interested in how the public discourse is constructed or shaped by an ideology, its reliance on visual forms and signs and the way it reinforces a particular belief system. He had solo exhibitions and projects at the Museum of Contemporary Art in Banja Luka, Bosnia and Herzegovina, Noorderkerk in Amsterdam and at the National Gallery of Bosnia and Herzegovina in Sarajevo. He has participated in several group exhibitions, among others at Vienna Künstlerhaus, Austria, Kunsthalle Münster in Germany, Museum of Yugoslav History in Belgrade, Serbia, Stedelijk Museum Bureau Amsterdam, Lothringer13 in München, Germany and SeMA Biennale Mediacity Seoul, Korea. Karalić lives and works in Amsterdam.
HOME TAO G. VRHOVEC SAMBOLEC, BOJAN FAJFRIĆ, TOMO SAVIĆ – GECAN, ALENA ALEXANDROVA
Tao G. Vrhovec Sambolec
The installation Unheard consists of a microphone, a clock, and custom-made software that resets the clock to zero every time it detects a sudden peak in loudness in the sonic ambiance where it is installed. Listening to the ambient sound and displaying the passing of clocked time between occurring auditory events, the installation articulates the relation between measured time and the time it is experienced. This setting invites visitors to focus on listening along and to explore their own margins of audibility and attention, while suggesting a shadow temporality unfolding in the intertwining zone between the representation and experience of the passing of time. This zone is lucidly outlined by Giorgio Agamben in his essay The Time That Is Left (2000):
… if we represent time as a straight line and its end as a last point on it, then we have something perfectly representable, but absolutely unthinkable. On the other hand, if we try to grasp our living experience of time, then we have something thinkable, but strictly non-representable.
Tao G. Vrhovec Sambolec is artist based in Amsterdam. His recent work draws attention to manifestations of presence, in particular the invisible rhythms of everyday bodily movement. Addressing the visitors through sound, tactility, kinetic movement and vibration, his works ultimately intend to question in what way human bodily presence can be felt and sensed beyond the directness of visuality and vicinity, and further, what kind of new poetics these re-articulations can form. He exhibited and performed in various museums, project spaces and festivals, amongst others Ars Electronica Festival - Linz - Austria, Museum of Modern Art – Ljubljana - Slovenia, AV Festival - Newcastle Upon Tyne, ŠKUC Gallery - Ljubljana, State Museum of Contemporary Art - Thessaloniki - Greece, Gwangju Museum of Art - Gwangju - South Korea, Reseach Pavilion - Venice - Italy, Madrid Abierto - Madrid, MuseumsQuartier, Vienna.
Bojan Fajfrić (Invited by Tao G. Vrhovec Sambolec)
The Confluence (2012 - 2018)
On November 18, 1988, Slobodan Milošević addressed the crowd of more than 100,000 people as the main speaker at a mass rally that confirmed his leadership of the "anti-bureaucratic revolution" which happened after the infamous 8th Session. The rally took place at Ušće (confluence in Serbian) that is located on the delta of Sava river and the Danube. This video consists of pieces of raw footage that has been re-edited. Simple manipulation of the image thus provides stark group portrait of the gathered politicians and ordinary folk whose role in the destructive force that came shortly after, is explicit. The juxtaposition between the jazz soundtrack (Pharoah Sanders, Harvest Time, 1976) and archive footage, unsettles and unconventionally shapes our view of this historic event.
Bojan Fajfrić was born in 1976 in Belgrade, Yugoslavia. His professional development started when he left Yugoslavia in 1995 to study visual arts in the Netherlands. He graduated from the Royal Academy in The Hague and was the resident of the Rijks Academy in Amsterdam. He has had exhibitions at: Baltic Centre for Contemporary Art, Gateshead; Palais de Tokyo, Paris; De Appel, Amsterdam; Künstlerhaus KM, Graz; NGBK, Berlin; MOCA, Belgrade etc. Bojan Fajfrić lives and works in Amsterdam.
Tomo Savić Gecan (Invited by Tao G. Vrhovec Sambolec)
15.12.2017. - 13.1.2018.
Mali Salon - Museum of Modern and Contemporary Art - MMSU Rijeka, Croatia.
Mali Salon (Small Salon - Museum of Modern and Contemporary Art - MMSU Rijeka) offers to its viewers an all-pervading void, leaving an impression that they have arrived too early or too late at the exhibition. A set of instructions point to a map in the background, onto which are marked three locations where the author performs the work at various times: in 2005 in the Établissement d'en face Gallery in Brussels, 2015 in Antwerp’s (On)begane Grond and in the present in the Mali Salon.
Tomo Savić-Gecan connects these three places by a series of transformations - removing the window glass from the exhibition space in Brussels and re-melting the glass into glasses which were used to serve drinks at the opening of the same exhibition. In 2015 the exterior wall of the (On)begane Grond was painted with transparent paint into which was mixed a ground glass from the previous exhibition. The same gesture is present in Mali Salon as well - glass powder is mixed in the paint for painting the whole exhibition space. The artistic activity of Savić-Gecan unfolds as a rhizome, follows invisible routes and their ramifications and is determined by cartographies of transformations and expansion. The gesture connecting of heterogeneous entities – the window glass, the glasses, the wall – demonstrates how the process can flow in all directions, wherein any point can come into contact with any other - Établissement d'en face – (On)begane Grond – Mali Salon, or the window – wall – opening – paint – gallery. Central to this procedure is the avoidance of linear movement, and the random connection of locations, which does not follow any kind of model, or instruction for mapping. Simultaneously every such connection is breakable, and open to new lines of connection and unpredictable digressions. We cannot be sure that at the end a fourth element will not be added, to the triangle of Brussels – Antwerp – Rijeka, some subsequent place, time, or situation,. So I cannot even think about the Rijeka episode in Mali Salon separately from the events that preceded.
Tomo Savić-Gecan constructs artworks that literally exist between present and future, here and there, between one public space and another, and between the minds of a viewer, wherever they might be, and the institutional space of the exhibition, which might happen to be somewhere else. For instance, he devised a situation so that visitors to an exhibition about the theme of “economy” were asked to decide on the entrance price for the visitor that would enter immediately after him or her (Untitled, 2000). Or as in his piece shown in Venice for the 2005 Biennale, where a line of text on an exhibition space’s wall recounted that the number of visitors at that very moment entering an art center in Amsterdam was impacting the temperature of a public pool in Tallinn (the pool having been programmed to receive the real time information and alter its temperature in relation to it), (Untitled, 2005).
Alena Alexandrova (Invited by Sascha Pohle)
Un-Polishing: On Several Unfinished Thoughts
“We’re constantly correcting, and correcting ourselves, most rigorously, because we recognize at every moment that we did it all wrong (wrote it, thought it, made it all wrong), acted all wrong, how we acted all wrong, that everything to this point in time is a falsification and we correct this falsification, and then we again correct the correction of this falsification and we correct the result of the correction of a correction andsoforth, so Roithamer.”
Thomas Bernhard, Corrections
The talk will re-trace the gestures of a strange group of tragic and ecstatic characters in a network of literary fragments. Such characters touch the anarchy of thinking, and the oppressive, yet productive paradox of constructions.
Alena Alexandrova is a cultural theorist and an independent curator based in Amsterdam. She is an associate professor at the Faculty of Fine Art, Music and Design, University of Bergen, Norway and lectures at the Fine Arts Department, Gerrit Rietveld Academie, Amsterdam. Currently she is writing a book Anarchic Infrastructures (working title). She is the author of Breaking Resemblance: The Role of Religious Motifs in Contemporary Art (Fordham University Press, 2017) and the co-editor of a volume on the work of Jean-Luc Nancy. She has published internationally in the fields of aesthetics, performance and visual studies, and regularly contributes to art publications and catalogues.
HOME KRISTIINA KOSKENTOLA, IBRAHIM QUARISHI
Ibrahim Quraishi (Invited by Kristiina Koskentola)
Radius 1 & 2
Women in Hitchcock
The video works Radius 1 and 2 are shot in such a way as to transform the literal and over-wrought heaviness of reality into a series of fictional surreal orders and explores the fictional necessity of our current military conflicts and rebellions that are raging in places as far as Yemen, Bahrain, Syria and Iraq. These images discern a sense of tranquility through the prism of both serene silence and an aerial parody. The notion of life is presented in terms of pure abstraction and calmness. These supposedly cordoned off terrains of our unnamed, anonymous secret military villages, bases and compounds come across as vast contrasts to the crusting and gruelling Arabian Desert, to be witnessed by an occasional car chase, like a clichéd Hollywood thriller. Women in Hitchcock, a mixed media work (photo on gelatin and 5 layers of cloth), deliberately reveals its own obscurity, while at the same time referencing the relationship to cinema and its notions of idealized symbiosis.
According to Artnet survey of 2017, Ibrahim Quraishi (1973 Nairobi, Kenya), is considered as one of the top most 50 exciting artists in Europe. Quraishi is a visual artist whose work includes different media: photography, photo painting, video, film and performance installation. Defined by a nomadic existence and dividing his time in multiple cities between Europe and the Middle East, Quraishi consciously examines the dynamics of migration, dispossession and cohabitation within the highly rigid socio-political spheres of imagined communities inside the contours of the visual arts context, while freely playing with the tensions between the complexity of the real and our longing for simplicity.
Quraishi’s primary interest is in the exploration and an understanding of visual performativity and its relationship to the broader cultural perspectives. Embedding his work in the chosen sites and the potential of intersubjective approaches are at the core of his process. Quraishi’s research is rooted in an experiential search of otherings concerning shifts between accepted citizens and non-citizens in our surveillance driven culture.
Kristiina Koskentola (Invited by Sascha Pohle)
Our bodies have turned to Gold
Since 2017 mass evictions and demolitions between the fifth and the sixth ring roads in Beijing have affected many lives. Simultaneously many burial sites, ancient and more recent, in the area have been destroyed, disrupting cultural practices of burying and the peace of the spirits. Our bodies have turned to Gold (research for installation and a video) is reflecting on a specific demolished urban village burial site. The installation examines this devastation from the position of the dead and further. Before the destruction, the villagers dug up their ancestors' and family members’ urns to avoid bad luck. The project speculates on these conditions in terms of spirituality, temporality, social politics and global capitalism. What kind of active political and ethical agency and resistance can non-human subjects perform, for example, in (local and global) social, ecological and economic systems? Our bodies have turned to Gold explores the collaboration and becoming with the more-than-human alongside the meditations on the site by the Daoist Master Wu Dangfeng and exchanges with the spiritual scholar Li Chunyuan. Furthermore, drawing broadly on local knowledge from the villagers and lived experience, alongside with writings by the philosopher and feminist theorist Rosi Braidotti and the philosopher Gilles Deleuze, this multivocal and transdisciplinary project opens up a dialogue in the context of posthuman discourse.
Kristiina Koskentola (1967 Finland) is a visual artist. She earned her PhD from the University of the Arts/ Chelsea College in London. Currently she divides her time between Amsterdam, and Beijing, where she overwinters. Koskentola’s recent work explores the boundaries of subjectivity and the agency of multiple co-actors. Her practice entails different levels of collaborations (including transdisciplinary and more-than-human subjectivities). How might unexpected encounters and bodies of knowledge entangle and propagate beyond the sites and contexts and traverse other realms? Transcultural and monistic perspectives, lived experience, materiality and coexistence are central to Koskentola’s ethically and socio- politically driven practice. These reflections manifest themselves as constellations of media including video, photography, materials, stories and objects, as interactive performative projects, publications and as lectures.
HOME YUNJOO KWAK, LISA SMITHSON
Yunjoo Kwak (Invited by Sascha Pohle)
Lisa Smithson (Invited by Yunjoo Kwak)
Slauerhoffstraat is conceived by Yunjoo Kwak based on her long-term research project Unfinished Odyssey since 2015. The project investigates the history of Dutch military architecture by reflecting upon the world’s military conflict, colonialism, migration and geo-political narratives between the Netherlands and Indonesia. The reading program is in collaboration with her long-term housemate, friend and artist Lisa Smithson. Together with their artist, musician, writer friends and participants will be reading and talking on the Dutch poet and novelist Jan Jacob Slauerhoff (1898-1936) at their house located in Amsterdam Nieuwe West, Slauerhoffstraat.
After a childhood plagued by bouts of asthma, he studied medicine in Amsterdam, where he also began writing poetry. His first work was published in 1921, and by the end of his life he was considered as one of the most important writers in Dutch language. In 1923, Slauerhoff signed up as a ship's doctor with the Dutch East India Company on the China-Java-Japan route. This nomadic sensibility was highly unusual for the time on which Slauerhoff was writing; it both harks back to 19th century Romanticism and anticipates today's extreme mobility. Slauerhoff’s restlessness and contemptuous hatred of Holland are prominent themes throughout his work, from the first volume, Archipel (1923; Archipelago), to the last, Een eerlijk zeemansgraf (1936; An Honourable Sailor’s Grave). Other negative elements are also apparent, such as the revenge wish and preoccupation with violent death and the destructive course of history. During the reading and sharing, a few issues such as the European colonial culture, rejecting history and the forbidden "other" will be the central topic.
How to participate:
Bring one or two poems, or one or two paragraphs from Slauerhoff's books you want to share with us and please kindly inform me.
The text should be translated in English by yourself.
Just wish to join? Please RSVP to me due to the limited space.
Email to: firstname.lastname@example.org
Special guest will be featured during the event:
Sander Uitdehaag, artist & cook.
Samuel Vriezen, composer & writer.
Katayoun Arian, independent curator & writer.
Anna Hotjes, artist.
Charlotte Rooijackers, artist.
Patricia Pinehrio de Sousa, artist.
Victor van Maldegem, "the future" architect.
Mike Lubben, cook.
Yunjoo Kwak's work mainly focuses on modern traumas, unrecognized histories, otherness, and misfortunes. She has shown her work in numerous photography and photographic installation exhibitions including Gallery 175, Brain Factory, Seoul Museum of Art, Hanmi Museum of Photography, Seoul, Youngeun Museum of Contemporary Art, and French Cultural Center, Seoul, Korea.
Since moving to Amsterdam in 2009, Kwak has engaged in video essays, lecture performances, archiving and publications based on her long-term research project. She was an artist-in-residence at The Otolith Collective, London, UK, and has participated in various exhibitions and screenings at Studium Generale Amsterdam (curated by Ruth Noack), Punt WG (curated by Clare Butcher), Reykjavik Museum of Photography, the Korean Cultural Center, London, Rujak Center for Urban Studies, Jakarta and Museum Sepuluh Nopember, Surabaya. Her major video works include Café Downey’s (2013), A Chronicle of Plan van Gool (2014) and Unfinished Odyssey: The Defectors (2017).
Lisa Smithson (New Zealand) presently lives between Groningen and Amsterdam. She studied at Canterbury University, Christchurch, New Zealand, (1997) the Gerrit Rietveld Academie, Amsterdam (2009) and most recently at the Frank Mohr Institute in Groningen (2018) (MA cum laude). With a practice based in drawing Smithson is drawn to questions around identity, memory and relationships between elements. She has exhibited works in, amongst others, Kulter proeflokaal, Amsterdam, Zoete Broodjes Project Space, Amsterdam, Klupko, Amsterdam, HAUS 34A Bad Bentheim (curated by Marc Bijl) and De Nieuwe Kolk, Assen
HOME MARIA LALOU & SKAFTE AYMO-BOOT
Maria Lalou & Skafte Aymo-Boot, [UN]FINISHED (Invited by Tao G. Vrhovec Sambolec)
The project [UN]FINISHED by visual artist Maria Lalou and architect Skafte Aymo-Boot is a study archive of the unfinished buildings of Athens. The phenomenon of this particular pending architecture of the never finished building is closely connected to the history of the construction of contemporary Athens, and highlights issues concerning the physiognomy of modern Greece. These concrete skeletons are signs of hidden social, economic and political structures that define the physical image of the city and the relations of its inhabitants in private life as well as in public space. Their simple structures form a parallel to the archetypal classical architecture that is commonly identified with the Greek illustrious past and the glory of Greekness. Being a different type of (anti-)monuments, they reveal the rules, regulations and predicaments that govern the Greek everydayness.
ANTIMONUMENTS 1964-2013, has been shown previously as part of the exhibition ΤΟΥΡΙΣΜΟΣ curated by Elpida Karaba and Glyceria Stathopoulou, at The Symptom Project’ - Amfissa Greece, 2017.
More info about [UN]FINISHED @ http://un-finished.org
Maria Lalou & Skafte Aymo-Boot, [UN]FINISHED
Maria Lalou is a Greek artist based in Amsterdam and Athens. Her work focuses on the topic of “viewing” through large-scale installations, performances, and publications. She incorporates cinematic and surveillance apparatuses as her tools, with references to the politics of the viewer. Lalou holds a number of grants and awards and has presented her work internationally at Printed Matter (New York), Arti et Amicitiae (Amsterdam), Onomatopee (Eindhoven), and the 2nd Biennial of Thessaloniki, among others. She has contributed to the peer-reviewed journals activate (Roehampton University, London) and Leonardo (MIT). Lalou was an artist-in-residence at the International Studio and Curatorial Program (ISCP) in New York 2017-18.
Skafte Aymo-Boot is a Danish architect based in Amsterdam. In 2009 he founded NEZU AYMO architects together with the Japanese architect Yukiko Nezu. He has realized a wide variety of projects, and his work has won several first prizes and awards. He has presented his work in lectures at, among others, the School of Architecture at the Royal Academy of Art, Copenhagen, Universidad National, Bogotá, and TU Delft.
Since 2012, Lalou and Aymo-Boot have worked together on the project [UN]FINISHED, a continuous archival research project on the unfinished concrete buildings of Athens, engaging the viewer in a process of viewing parts of the void of the city’s history historically, socially, and politically. The project has been presented at Contemporary Art ReMap 4 (Athens), UNIDEE/Fondazione Pistoletto (Biella), The Symptom Project (Amfissa), as well as Princeton University and ETH Zürich, among others.
HOME ANDRÉ AVELÃS
André Avelãs (Invited by Lalou & Aymo-Boot - [UN]FINISHED)
untitled, ongoing toilet collage (1999-present)
Through a period of 19 years, André Avelas has transformed his toilet to a continuously evolving collage space. During Home Sequence Avelãs presents a newly composed corresponding sound piece.
André Avelãs (PT) is a sound artist who lives and works in Amsterdam. His works (performances, sculpture, installations, and recordings) explore the ways in which sound is produced, and how sound creates meaning in relation to space and the conditions under which it is heard. Central to his practice is a focus on sound not as a carrier of content but as a malleable material that shifts and changes in relation to the methods and machines through which it is generated, reproduced and experienced.
HOME VINCENT VERHOEF, SANDER BREURE AND WITTE VAN HULZEN
Vincent Verhoef (Invited by Tao G. Vrhovec Sambolec)
For Home Sequence Vincent Verhoef tries to open up a gateway between his home and studio impressions from Athens to Amsterdam. He shows a series of mainly painterly works, exhausted objects and videos amongst creaking furniture, too many books, CDs, fine cutlery and wandering artworks.
Vincent Verhoef is an artist and art historian living and working in Amsterdam and Athens. Recent work was exhibited in The Breeder gallery and Hot Wheels Projects, Athens. He studied at University of Amsterdam, Gerrit Rietveld Academy and Jan van Eyck Academy.
Sander Breure & Witte Van Hulzen (Invited by Vincent Verhoef)
One of the main concerns of the work of Sander Breure & Witte van Hulzen is an expanded research into history of portraiture and its relationship with theater. Recently they have been making sculptural portraits that are based on memories of people they once met, which act as attempts to retrieve or recreate a presence from the past. One of the strategies to imbue their sculptures with a past and experience, is to let them stay over at people’s homes. During the course of Home Sequence, amongst other works, their portrait of Judith will stay over with Vincent and Arnisa.
The Dutch artistic duo Sander Breure (°1985) and Witte van Hulzen (°1984) uses diverse media such as video, performance, photography, drawings and sculpture. Families, migration, everyday body language, the art world and its unwritten laws, the attack on Utøya: the various subjects are always translated into images, with specific attention to the human condition. Their work is rooted in a romantic tradition. Due to the way in which they attempt, through the continual reuse of images, to investigate the essence of art and its relationship to our world, that tradition takes on new connotations. Sander Breure and Witte van Hulzen have exhibited, among others, in the Stedelijk Museum Amsterdam, Centraal Museum Utrecht, Contour Biennial Mechelen and ISSUE Project Room New York. They finished a two year residency at the Rijksakademie in 2017 and recently won the Charlotte Köhler Prize. They are represented by gallery tegenboschvanvreden, Amsterdam.
HOME NOA GINIGER
Noa Giniger (Invited by Tao G. Vrhovec Sambolec)
Cool Loneliness consists of a mix of old and new artworks, rearranged and surrounded with objects and a collection that are not necessarily regarded as “art” per se; my cabinet of curiosities. It is an opportunity for me to both experiment with works and ideas (final and draft), and to share other private layers of my world with the public.
Noa Giniger works within a wide range of media, including installation, film, sound, text and online works. She graduated from ENSBA in Paris. As part of her studies, she attended the School of Art at Carnegie Mellon University for one year. She was a resident at De Ateliers, Amsterdam and a Royal Dutch Institute and Affiliated Fellow at the American Academy in Rome. Her work has been presented in various international solo and group exhibitions. Giniger is half of the spoken word poetry duo Noon & Ain with musician Anat Spiegel.
HOME SEFER MEMIŞOĞLU
Sefer Memişoğlu (Invited by Sascha Pohle)
Glorious Moment (unfinished work)
I will show one of my unfinished works at my home's hiding room (storeroom). The room is very narrow, a dark extension of the stairway of the entire building and as such a transition between public and private space. Glorious moment is a sunset scene, illustration of a gaze on the horizon of indefiniteness of becoming twilight zone. The work contains the four elements of western culture: EARTH, AIR, FIRE, and WATER. These four elements were believed to be essential to life. Glorious Moment recalls the myth of Prometheus, a characterisation of a failed idealist.
The oeuvre of Sefer Memişoğlu (1977, Istanbul) moves between photography, sound, film and drawing. The artist always works in one discipline at a time. Starting from concept or theory, he gives shape to an object through his body. The physical act of drawing, filming or photographing is of great importance. Body, medium and concept reveal a reality that would otherwise remain invisible. This conceptual approach makes the work less direct, but no less involved.
Selected group exhibitions and screenings include: Artists’ film international, Whitechapel Gallery, London, 2012; immobility (creative politics), DEPO, Istanbul, 2011; be mobile in immobility (the materialized memory), Total Museum of Contemporary Art, Seoul, 2011; Itinéraires, Maison des Arts Georges Pompidou, Cajarc, 2010; Vision in New York City, Macy Art Gallery, NY, 2009; OpenStudio, Rijksakademie van Beeldende Kunsten, Amsterdam, 2008; Truths&Mirages, Shipka 6, Sofia, 2008; Dis—Ease, Bank Gallery, Durban, 2008; Candid Stories, Insa Art Space of Arts Council, Seoul, 2008; The Country, Not the Bird, Art in General, NY, 2008; Hier sein Dort sein Auswarts, Institut für Auslands, Berlin, 2008; Air Pocked, Galerist, Istanbul, 2007; Eurohope 1153, Villa Manin Centro d’arte Contemporanea, Venice, 2006; Guardami: Percezione del Video/Look at Me: Video Perceptions’/ Palazzo della Centro Contemporanea, Siena, 2006; 9th International; Istanbul Biennial-Freekick Exhibition, Istanbul, 2005; I am too sad to kill you, Proje4L, Istanbul, 2003; Under the Beach: Pavement, Proje 4L, Istanbul, 2002. Selected video screenings include: The Filmic Conventions-Direction Code, FormContent, London, 2009; 38th International Film Festival Rotterdam, 2009; Moment of Agency, Kunsthalle Basel, 2009; 34th International Film Festival Rotterdam, 2006. Between 2006 – 2008 he was a resident at Rijksakademie van Beeldende Kunsten, Amsterdam, in 2009 he was a resident at Viafarini-in-Residence in Milan.