Podcast appearances and mentions of Van Abbemuseum

Reggie Baay spreekt met emeritus-hoogleraar Jan Breman over het systeem van contractarbeid. Breman schetst een duister beeld en vertelt dat de regering begin twintigste eeuw wel degelijk wist wat er zich afspeelde op de plantages in Deli. Waarom werd er niks met die informatie gedaan? En hoe kan het dat Breman een belangrijk rapport pas in 1987 terugvond in notabene het archief van Koningin Wilhelmina? Ook zoekt Reggie verder naar een spoor van zijn grootmoeder in het Nationaal Archief in Den Haag, waar hij spreekt met Jeftha Pattikawa. "Verborgen Verbanden" is een documentaireserie gemaakt door Reggie Baay en Emmie Kolau in samenwerking met het Van Abbemuseum in Eindhoven. Deze serie werd mede mogelijk gemaakt door het Cultuurfonds en het Mondriaan Fonds. In het Van Abbemuseum Eindhoven is tot en met het voorjaar van 2026 de tentoonstelling "Verborgen Verbanden" te zien, waarin het museum zijn eigen koloniale verleden ontrafelt.

Reggie Baay spreekt met emeritus-hoogleraar Jan Breman over het systeem van contractarbeid. Breman schetst een duister beeld en vertelt dat de regering begin twintigste eeuw wel degelijk wist wat er zich afspeelde op de plantages in Deli. Waarom werd er niks met die informatie gedaan? En hoe kan het dat Breman een belangrijk rapport pas in 1987 terugvond in notabene het archief van Koningin Wilhelmina? Ook zoekt Reggie verder naar een spoor van zijn grootmoeder in het Nationaal Archief in Den Haag, waar hij spreekt met Jeftha Pattikawa. "Verborgen Verbanden" is een documentaireserie gemaakt door Reggie Baay en Emmie Kolau in samenwerking met het Van Abbemuseum in Eindhoven. Deze serie werd mede mogelijk gemaakt door het Cultuurfonds en het Mondriaan Fonds. In het Van Abbemuseum Eindhoven is tot en met het voorjaar van 2026 de tentoonstelling "Verborgen Verbanden" te zien, waarin het museum zijn eigen koloniale verleden ontrafelt.

Gast: Marijn van Kreij, beeldend kunstenaar In deze aflevering gaat Robert van Altena in gesprek met Marijn van Kreij over zijn tentoonstelling 'How to look at a spiral' in Museum De Pont (de tentoonstelling is te zien tot en met 18 augustus). Van Kreij vertelt dat hij niet is opgegroeid met beeldende kunst. Via tijdschriften maakte hij kennis met een bredere beeldcultuur en daarna volgde de beeldende kunst toen hij als jonge student het Van Abbemuseum en Museum De Pont bezocht : “Dan gaat het leven. Maar ik heb op een of andere manier altijd…hoe zeg je dat?…ik heb het nooit als iets, als het hoogste of zo gezien, de kunst, maar altijd als iets waar je een dialoog mee aangaat en zo ben ik het ook gaan behandelen denk ik. […] En langzaam kom je er dan achter dat erover geschreven wordt, dat ik hoge en lage cultuur verbind. Maar voor mij voelde dat niet zo, ik zag dat onderscheid sowieso al niet.” Gelijktijdig met de tentoonstelling in De Pont heeft Marijn van Kreij het boek 'Pictorial content?' gepresenteerd. 'Pictorial content?' is een boek met werken op papier. De selectie valt voor een groot deel samen met het werk dat in de tentoonstelling in De Pont is te zien. Bij het boek zit een cahier met een e-mail uitwisseling over het werk tussen Marijn van Kreij en Esther Darley. Het boek is vormgegeven door Roger Willems en uitgebracht door Roma Publications. Foto [uitsnede]: Marijn van Kreij, Untitled (Picasso, L'Atelier, 1955, Snow Butter) (2021), gouache op papier met lasterprint, 42 x 30,5 cm (Fotograaf: Peter Cox). Courtesy Marijn van Kreij & Galerie Andriesse Eyck, Amsterdam SPRINGVOSSEN
redactie + presentatie: Robert van Altena
contact: springvossen[at]gmail.com
 
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www.amsterdamfm.nl/programma/springvossen

De grootmoeder van schrijver Reggie Baay werkte begin twintigste eeuw als contractarbeider in Deli op Sumatra. Contractarbeid klinkt vrijwillig, maar blijkt een voortzetting van de slavernij in de toenmalige kolonie Nederlands-Indië. In Verborgen Verbanden; een onbekende koloniale erfenis probeert Reggie meer over zijn oma en haar dagelijks leven te weten te komen. Waarom stuit hij daarbij op muren? Is haar verhaal en dat van de contractarbeiders bewust onder het tapijt geschoven? En wat heeft het Van Abbemuseum te maken met deze geschiedenis? Een podcast van Reggie Baay, Emmie Kollau en Aldus' producties in samenwerking met het Van Abbemuseum Eindhoven. Regie en productie door Aldus' producties. In het Van Abbemuseum Eindhoven is tot en met voorjaar 2026 de bijbehorende tentoonstelling Verborgen Verbanden te zien. Daarin ontrafelt het museum zijn eigen koloniale verleden en de rol die naamgever en oprichter van het museum Henri van Abbe daarin speelde.

De grootmoeder van schrijver Reggie Baay werkte begin twintigste eeuw als contractarbeider in Deli op Sumatra. Contractarbeid klinkt vrijwillig, maar blijkt een voortzetting van de slavernij in de toenmalige kolonie Nederlands-Indië. In Verborgen Verbanden; een onbekende koloniale erfenis probeert Reggie meer over zijn oma en haar dagelijks leven te weten te komen. Waarom stuit hij daarbij op muren? Is haar verhaal en dat van de contractarbeiders bewust onder het tapijt geschoven? En wat heeft het Van Abbemuseum te maken met deze geschiedenis? Een podcast van Reggie Baay, Emmie Kollau en Aldus' producties in samenwerking met het Van Abbemuseum Eindhoven. Regie en productie door Aldus' producties. In het Van Abbemuseum Eindhoven is tot en met voorjaar 2026 de bijbehorende tentoonstelling Verborgen Verbanden te zien. Daarin ontrafelt het museum zijn eigen koloniale verleden en de rol die naamgever en oprichter van het museum Henri van Abbe daarin speelde.

De geschiedenis van Deli en de contractarbeiders is een gruwelijke en Reggie merkt dat hij moeite heeft om zich daartoe te verhouden. Hoe gaan andere kleinkinderen van contractarbeiders daarmee om? Reggie spreekt onder andere met Michiel Eduard Donkersloot, die al jarenlang bijna obsessief de geschiedenis van zijn oma probeert te ontrafelen. Ook komen nazaten prof. Supandi en Bunga Siagian aan het woord en reist Reggie zelf naar Indonesië om de plantages of wat daarvan over is met eigen ogen te zien.Verborgen Verbanden is een podcast van Reggie Baay in samenwerking met het Van Abbemuseum Eindhoven. Regie en productie door Aldus' producties. In het Van Abbemuseum Eindhoven is tot en met voorjaar 2026 de tentoonstelling Verborgen Verbanden te zien waarin het museum zijn eigen koloniale verleden ontrafelt.Meer weten? Bezoek dan ook de tentoonstelling Verborgen Verbanden in het Van Abbemuseum Eindhoven of lees het boek De contractarbeiders van Deli van Reggie Baay. Meer info via vanabbemuseum.nl/nl/verborgen-verbanden  Deze aflevering bevat expliciete beschrijvingen van geweld en kan als schokkend worden ervaren. Daarmee is de aflevering ook minder geschikt voor kinderen.  Daarnaast zijn er soms termen te horen die nu als kwetsend kunnen worden ervaren, maar die hier gebruikt worden in de context van de koloniale tijd.

Vandaag ben ik in Eindhoven. Dit keer neem ik de podcast op in het Van Abbemuseum. Museum voor hedendaagse kunst middenin de stad. Samen met een groep onderwijsprofessionals kijken we in deze podcast terug op de pilot ‘doorlopende begeleiding startende leraren'. Er kan nu geoogst worden waar de afgelopen drie jaar hard aan is gewerkt.... Het bericht Welke rol speelt een krachtig lerend netwerk voor startende leraren in het onderwijs? verscheen eerst op Tjipcast.

Reggie Baay ontdekt dat zijn grootmoeder als contractarbeider gewerkt heeft in Deli op Sumatra in de voormalige kolonie Nederlands-Indië. Hij wil meer weten, want was contractarbeid niet min of meer een voortzetting van de slavernij? Tijdens zijn zoektocht belandt hij  in het archief van het Van Abbemuseum en spreekt met Cis van Abbe, de kleinzoon van de oprichter van het Van Abbemuseum. Zijn opa Henri van Abbe was een grote sigarenfabrikant in Eindhoven en haalde zijn tabak uit Deli. Onder andere met het daar verdiende kapitaal richtte hij het museum op. Wat wist hij van de omstandigheden op de plantages? Verborgen Verbanden is een podcast van Reggie Baay in samenwerking met het Van Abbemuseum Eindhoven. Regie en productie door Aldus' producties. In het Van Abbemuseum Eindhoven is tot en met voorjaar 2026 de tentoonstelling Verborgen Verbanden te zien waarin het museum zijn eigen koloniale verleden ontrafelt.Meer weten? Bezoek dan ook de tentoonstelling Verborgen Verbanden in het Van Abbemuseum Eindhoven of lees het boek De contractarbeiders van Deli van Reggie Baay. Meer info via vanabbemuseum.nl/nl/verborgen-verbanden  Deze aflevering bevat expliciete beschrijvingen van geweld en kan als schokkend worden ervaren. Daarmee is de aflevering ook minder geschikt voor kinderen.  Daarnaast zijn er soms termen te horen die nu als kwetsend kunnen worden ervaren, maar die hier gebruikt worden in de context van de koloniale tijd.

Reggie Baay spreekt met emeritus-hoogleraar Jan Breman over het systeem van contractarbeid. Breman schetst een duister beeld en vertelt dat de regering begin twintigste eeuw wel degelijk wist wat er zich afspeelde op de plantages in Deli. Waarom werd er niks met die informatie gedaan? En hoe kan het dat Breman een belangrijk rapport pas in 1987 terugvond in notabene het archief van Koningin Wilhelmina? Ook zoekt Reggie verder naar een spoor van zijn grootmoeder in het Nationaal Archief in Den Haag, waar hij spreekt met Jeftha Pattikawa.Verborgen Verbanden is een podcast van Reggie Baay in samenwerking met het Van Abbemuseum Eindhoven. Regie en productie door Aldus' producties. In het Van Abbemuseum Eindhoven is tot en met voorjaar 2026 de tentoonstelling Verborgen Verbanden te zien waarin het museum zijn eigen koloniale verleden ontrafelt.Meer weten? Bezoek dan ook de tentoonstelling Verborgen Verbanden in het Van Abbemuseum Eindhoven. Meer info via vanabbemuseum.nl/nl/verborgen-verbanden Deze aflevering bevat expliciete beschrijvingen van geweld en kan als schokkend worden ervaren. Daarmee is de aflevering ook minder geschikt voor kinderen.  Daarnaast zijn er soms termen te horen die nu als kwetsend kunnen worden ervaren, maar die hier gebruikt worden in de context van de koloniale tijd.

Beluister hier de trailer van de driedelige podcastserie 'Verborgen Verbanden; een onbekende koloniale erfenis'. Reggie Baay neemt je mee in zijn zoektocht naar wat er met zijn grootmoeder is gebeurd, nadat ze werd weggestuurd door zijn Europese grootvader. Niet alleen het leven van zijn grootmoeder is gehuld in dikke mist; het systeem van contractarbeid op Deli is dat evenzeer.Een podcast van Reggie Baay in samenwerking met het Van Abbemuseum Eindhoven. Regie en productie door Aldus' producties. In het Van Abbemuseum Eindhoven is tot en met voorjaar 2026 de tentoonstelling Verborgen Verbanden te zien waarin het museum zijn eigen koloniale verleden ontrafelt.Wil je meer weten over de omstandigheden, het verzet en de systemen op de plantages? Bezoek dan de tentoonstelling Verborgen Verbanden of lees het boek De contractarbeiders van Deli van Reggie Baay.

Heather Dewey-Hargborg, American artist and bio-hacker most knowned for the project Stranger Visions. Ana Brígida for The New York Times Dr. Heather Dewey-Hagborg is a transdisciplinary artist and educator who is interested in art as research and critical practice. Her controversial biopolitical art practice includes the project Stranger Visions in which she created portrait sculptures from analyses of genetic material (such as hair, cigarette butts, or chewed up gum) collected in public places. Heather has shown work internationally at events and venues including the World Economic Forum, the Daejeon Biennale, and the Shenzhen Urbanism and Architecture Biennale, the Van Abbemuseum, Transmediale and PS1 MOMA. Her work is held in public collections of the Centre Pompidou, the Victoria and Albert Museum, the Wellcome Collection, and the New York Historical Society, among others, and has been widely discussed in the media, from the New York Times and the BBC to Art Forum and Wired. Heather has a PhD in Electronic Arts from Rensselaer Polytechnic Institute. She is a visiting assistant professor of Interactive Media at NYU Abu Dhabi, an artist fellow at AI Now, an Artist-in-Residence at the Exploratorium, and is an affiliate of Data & Society. Hybrid (Trailer) from Heather Dewey-Hagborg on Vimeo. Installation view, Heather Dewey-Hagborg, Hybrid: an Interspecies Opera. Courtesy of the artist and Fridman Gallery. Still from Heather Dewey-Hagborg, Hybrid: an Interspecies Opera. Courtesy of the artist and Fridman Gallery.

Jim Isermann (b. 1955, Kenosha, WI) received his Master of Fine Arts from the California Institute of the Arts and his Bachelor of Fine Arts from the University of Wisconsin-Milwaukee. Jim's work has been the subject of solo exhibitions at Camden Arts Center, London, United Kingdom; Hammer Museum, Los Angeles, CA; Institute of Contemporary Art, Philadelphia, PA; Le Magasin - Centre National d'Art Contemporain, Grenoble, France; Museum of Contemporary Art Chicago, Chicago, IL; Palm Springs Art Museum Architecture and Design Center, Palm Springs, CA; RISD Museum, Providence, RI; and the Van Abbemuseum, Eindhoven, The Netherlands, among others. He has been included in group exhibitions at numerous international institutions including the Los Angeles County Museum of Art, Los Angeles, CA; Louisiana Museum of Modern Art, Humlebæk, Denmark; Moderna Museet, Stockholm, Sweden; Musée d'Art Moderne de la Ville de Paris, Paris, France; Museum of Contemporary Art Chicago, Chicago, IL; Museum of Contemporary Art, Los Angeles, Los Angeles, CA; The Museum of Modern Art, New York, NY; Royal Academy of Art, London, United Kingdom; and the Solomon R. Guggenheim Museum, New York, NY. His work is in the collections of the Art Institute of Chicago, Chicago, IL; Carnegie Museum of Art, Pittsburgh, PA; FRAC Poitou-Charentes, Angoulême, France; Los Angeles County Museum of Art, Los Angeles, CA; Museum of Contemporary Art Chicago, Chicago, IL; Museum of Contemporary Art, Los Angeles, Los Angeles, CA jus to name a few. He lives and works in Palm Springs, CA.

Juan William Chávez is an artist and activist whose multidisciplinary practice extends across public sculptures, installations, paintings, drawings, and unconventional forms of beekeeping and agriculture. He often works collaboratively on social-practice projects that address the environment, food rights, and urban ecologies. His exhibitions focus on themes of the urban environment, ecology, sustainability, craft/labor, activism, identity, and archaeology of place. Chavez has exhibited at ArtPace, Van Abbemuseum, McColl Center for Art, Tube Factory Artspace, John Michael Kohler Arts Center, The Bemis Center for Contemporary Arts, Laumeier Sculpture Park, and Contemporary Art Museum St. Louis. Chavez's work was most recently included in El Museo's survey of contemporary Latinx art, ESTAMOS BIEN - LA TRIENAL 20/21. His interdisciplinary approach to art has gained the attention and support of prestigious institutions like the John Simon Guggenheim Foundation, Creative Capital, Graham Foundation, ArtPlace America, Andy Warhol Foundation, and Art Matters Foundation. Chávez holds a BFA from the Kansas City Art Institute and an MFA from the School of the Art Institute of Chicago. Chavez was born in Lima, Peru, and raised in St. Louis, MO, where is lives and work.

Renowned curator, and a trailblazer of “usefulness” in art, Alistair Hudson is the forthcoming Artistic & Scientific Chairman of ZKM (Center for Art & Media in Karlsruhe.Alistair Hudson grabbed everybody's attention when - with Adam Sutherland - he turned Grizedale Arts, an art institution in Northwest England's Lake District, into a hotspot of artistic discussion and production between 2004 and 2015. A directorship followed, at the Middlesbrough Institute of Modern Art. There he developed the idea of the useful museum, opening up questions on how the museum ‘can be used' otherwise; simultaneously reflecting on a wide collection as well as new commissions and projects. In collaboration with the artist Tania Bruguera the Van Abbemuseum and Queens Museum, he got involved in the exhibition "Museum of Arte Util", later undertaking the role of co-directorship of the Association de Arte Útil that resulted from the exhibition. This project has become a repository of artistic activities that propose new uses for art, work on a 1:1 scale, and embrace artistic thinking to respond to urgencies, in short, all things dear to Ahali Conversations so far. This Episode includes additional questions by Betül Aksu, Ceminay Kara, Sarp Özer, and Alessandra Saviotti.Over the last two decades, Grizedale Arts has become an acclaimed and influential model for a new kind of art institution, one that works beyond the established structures of the contemporary art world.Liam Gillick works across diverse forms, whose wider body of work includes published essays and collaborative projects, all of which inform (and are informed by) his art practice.The British Home Office (the UK ministry responsible for immigration, security, and law and order) building was designed by Terry Farrell and has multiple integrated artworks by Gillick.Terminal Convention was a contemporary exhibition and symposium housed in the decommissioned terminal building of Cork International Airport in the Republic of Ireland. https://rhizome.org/editorial/2011/apr/07/terminal-convention/Arte Útil roughly translates into English as 'useful art' but it goes further suggesting art as a tool or device.https://www.arte-util.orgTania Bruguera is a politically motivated performance artist, who explores the relationship between art, activism, and social change in works that examine the social effects of political and economic power. https://art21.org/artist/tania-bruguera/The Van Abbemuseum in Eindhoven is one of the leading museums for contemporary art in Europe. https://vanabbemuseum.nl/enCharles Esche is a museum director, who has been directing the Van Abbemuseum since 2004.John Ruskin was an English writer, philosopher, art critic, and polymath of the Victorian era. He wrote on subjects as varied as geology, architecture, myth, ornithology, literature, education, botany, and political economy. WikipediaThe ZKM (Center for Art and Media) in Karlsruhe “is a house of all media and genres, a house of both spatial arts such as painting, photography and sculpture and time-based arts such as film, video, media art, music, dance, theater, and performance. ZKM was founded in 1989 with the mission of continuing the classical arts into the digital age. This is why it is sometimes called the digital Bauhaus”. https://zkm.de/enPeter Weibel was a post-conceptual artist, curator, and new media theoretician. He was at the helm of ZKM since 1999. Weibel passed away in March 2023, shortly after the recording of this episode. Arts Council is UK's national development agency for creativity and culture. They invest public money from Government and The National Lottery into cultural institutions and projects. https://artscouncil.org.ukRainer Rochlitz (1946-2022) was a philospher, art historian focusing on aesthetics theory, and a translator who played a key role in publicizing the writings of German authors such as Benjamin and Habermas.Jürgen Habermas is one of the key theorists of the 20th century, with his widely read and influential works on communicative action, discourse, and perhaps most importantly on the “public sphere”. Erwin Panofsky was an influential art historian. https://en.wikipedia.org/wiki/Erwin_PanofskyJean-Luc Godard (1930-2022) probably needs no introduction, he was a filmmaker who pushed the medium to its limits while remaining relevant and influential, throughout his whole time on this earth. Onur Yıldız is a political theorist who also was the Senior Public Programmer at SALT, Istanbul.For more on Meriç Öner, head over to our conversation with her: https://www.ahali.space/episodes/episode-17-meric-onerStephen Wright defines “usology” as “a sweeping field of extradisciplinary enquiry, spanning everything from the history of the ways and means of using to usership's conditions of possibility as put forward in various theories of practice”.https://museumarteutil.net/wp-content/uploads/2013/12/Toward-a-lexicon-of-usership.pdf Alessandra Saviotti, a frequent contributor in our Ahali Live Sessions, co-authored this article on the usological turn: https://www.mdpi.com/2076-0752/11/1/22This season of Ahali Conversations is supported by the Graham Foundation for Advanced Studies in the Fine Arts. The Graham provides project-based grants to foster the development and exchange of diverse and challenging ideas about architecture and its role in the arts, culture, and society. This episode was also supported by a Moon & Stars Project Grant from the American Turkish Society.This episode was recorded on Zoom on December 15th, 2022. Interview by Can Altay. Produced by Aslı Altay & Sarp Renk Özer. Music by Grup Ses.

“León Ferrari“ L'aimable cruautéau Centre Pompidou, Parisdu 20 avril au 29 août 2022Interview de Nicolas Liucci-Goutnikov, conservateur, chef du service de la bibliothèque Kandinsky, Musée national d'art moderne et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 19 avril 2022, durée 10'20.© FranceFineArt.Communiqué de presse Commissariat :Nicolas Liucci-Goutnikov, conservateur, chef du service de la bibliothèque Kandinsky, Musée national d'art moderne, Assisté de Diane Toubert, chargée de recherche au Musée national d'art moderneCommissaires invités : Andrea Wain, Javier del Olmo, Fernanda CarvajalLe Centre Pompidou présente la première exposition muséale en France de l'oeuvre de León Ferrari (1920 – 2013). Figure majeure de la scène argentine d'après-guerre, il est l'auteur d'un oeuvre protéiforme alliant inventivité plastique et conscience critique.Ingénieur de formation, il pratique le dessin en autodidacte dès 1946. En 1952, installé avec sa famille en Italie, il réalise ses premières sculptures en céramique, exposées à Milan en 1955. De retour à Buenos Aires, León Ferrari se tourne vers de nouveaux matériaux, le bois et le fil de fer, dont il fait de fragiles et complexes édifices. À partir de 1962, il explore la visualité du langage dans des « tableaux écrits » (« cuadros escritos ») annonçant l'émergence d'un conceptualisme globalisé. Dessin et sculpture se répondent et s'enrichissent, engageant un dialogue constant entre expérimentation formelle et radicalité politique.« L'art n'est ni beauté, ni nouveauté, mais efficacité et désordre. » León FerrariFrappé par les violences de son temps, notamment celles de la guerre du Vietnam largement diffusées par les médias, León Ferrari constate avec inquiétude que « par un étrange paradoxe, la liberté de la presse s'est convertie en justification de la torture » et voue son oeuvre à mettre en évidence la « barbarie » du monde libéral occidental.Tenant le christianisme responsable des phénomènes contemporains de torture et d'exclusion, son discours anticolonial se double d'un anticléricalisme farouche. Ainsi, en 1965, León Ferrari réalise la retentissante sculpture La civilización occidental y cristiana (La civilisation chrétienne et occidentale) représentant un Christ crucifié sur un avion militaire américain. À la fin des années 1980, exilé au Brésil, il poursuit cette pratique de l'assemblage dans une série de collages iconoclastes réunissant des représentations bibliques issues de la tradition picturale occidentale et les images de violence véhiculées par la presse. Tout au long de sa vie, León Ferrari n'eut de cesse de nous mettre en garde contre le processus par lequel l'art embellit et banalise la violence – mécanisme qu'il nomme « aimable cruauté » (« bondadosa crueldad »).L'exposition est organisée à l'occasion du centenaire de León Ferrari, par le Museo Nacional Centro de Arte Reina Sofía, Madrid, le Van Abbemuseum, Eindhoven, le Musée National d'Art Moderne Centre Pompidou, Paris et avec la complicité de la Fundación Augusto y León Ferrari Arte y Acervo, Buenos Aires.#ExpoLeonFerrari Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

In 2008 maakte de Amerikaanse kunstenaar Michael Rakowitz een immense toren van sloophout ter bevordering van de discussie rondom gentrificatie in Sydney. Steven ten Tijhe, hoofd collecties van het Van Abbemuseum vertelt hoe dit moderne werk de Russische Revolutie uit de jaren '20 van de vorige eeuw, verbindt met een aboriginal gemeenschap in Australië.Beeld: Van Abbemuseum - Joep JacobsDe podcast Topstukken wordt je aangeboden door de VriendenLoterij, dé cultuurloterij van Nederland. Ontdek meer over deze podcast op topstukkendepodcast.nl.

I Hope This Message Finds You Well is a podcast on curating hosted by Kris Dittel and Eloise Sweetman. In this episode we talk to curator and educator Clare Butcher. With Clare's enthusiasm to discuss curatorial methodologies, we kick off our conversation by talking about her professional trajectory and early interest in a critical exploration of archival practices. We talk about institutional hierarchies, learning curves and the importance of collectivity and context-sensitivity. Clare also shared with us why she stopped making exhibitions and found her interest in the field of education and mediation, and the tension that can arise between exhibition making and educational practices in an institutional setting. The episode was recorded in May 2021. If you have feedback we'd love to receive your email at ihopethismessagefindsyouwell@gmail.com; you can also follow us on Instagram @ihopethismessage and find us on SoundCloud @ihopethismessage. Our music is by Difficult and sound engineering by Nick Thomas. Graphic design by Christophe Clarijs. Show notes: Since this conversation was recorded Clare is no longer with the Toronto Biennial of Art and has moved on to independent projects. Here are some links for further reference to the work of her colleagues, practitioners and projects mentioned during the episode which continue to nourish Clare's methods and thinking. This is Not An Archive (2021), Toronto Biennial of Art with Art Metropole, edited by Clare Butcher and Myung-Sun Kim https://thisisnotanarchive.ca/ aneducation–documenta 14 (2018), Archive Books, edited by Sepake Angiama, Clare Butcher, Alkisti Efthymiou, Anton Kats, and Arnisa Zeqo https://www.archivebooks.org/aneducation-%E2%80%A2-documenta-14/ Nourishing Knowledge (2017), part of aneducation program, documenta 14, with Ella Froemmel, Ayşe Güleç, Wanda Heimbs, Karl Leonard Heinemann, Carmen José, Lose Fäden, Ann-Kathrin Mogge, Otobong Nkanga, Emeka Ogboh, Nathan Pohio, Beat Sandkühler, Ahlam Shibli, Katerina Stefanidaki, Maya Tounta, Ida Westermann, Zafos Xagoraris, and more https://www.documenta14.de/en/public-education/25659/nourishing-knowledge unsettling rietveld sandberg, led by consultant Judith Leysner and coordinator Tracian Meikle https://unsettling-rietveldsandberg.net/about The Works of Art Collection at the University of Cape Town http://www.artcollection.uct.ac.za/art/purpose Linda Stupart, artist and previously curator Centre for African Studies Gallery, University of Cape Town http://lindastupart.net/ Institutions mentioned in this episode: Van Abbemuseum, Eindhoven The School of Missing Studies, Sandberg Institute, Amsterdam People mentioned in this episode: Gabi Ngcobo Renata Cervetto Sepake Angiama

Architecture City - 12 - Architecture on show neemt je mee in de wereld van de architectuurtentoonstelling. We spreken met Paul Kempers die een biografie schreef over Jean Leering. Deze idealist, mentor, schrijver en gentleman-activist gaf architectuur het podium in het Van Abbemuseum waar hij directeur was. Ook onze gast is Sergio Figueiredo, hoofd van de Curatorial Research Collective aan de TU Eindhoven en schrijver van The NAieffect, een boek over het Nederlands Architectuurinstituut als de plek waar Nederlandse architectuurcultuur gestalte kreeg. Tot slot praten we met de kersverse directeur van Internationale Architectuur Biënnale Rotterdam, Saskia van Stein. Wat zijn voor haar de belangrijkste ervaringen en lessen uit de ca. zeventig tentoonstellingen over design en architectuur die zij eerder maakte bij onder andere het NAi en Bureau Europa? En wat zijn haar plannen met de Biënnale?

Het Niemeijer Fonds en het Van Abbemuseum organiseren gezamenlijk de Theodora Niemeijer Prijs. Het is de enige Nederlandse beeldende kunstprijs speciaal voor vrouwelijke kunstenaars. De prijs wordt in 2021 voor de vijfde keer uitgereikt. De winnaar van deze vijfde editie is Silvia Martes met haar projectvoorstel Public Solitude, dat van 9 april tot en met 9 oktober 2022 tentoongesteld wordt in Het Oog, een ovale patio in het Van Abbemuseum. Pieter van der Wielen spreekt met Silvia Martes.

Het Niemeijer Fonds en het Van Abbemuseum organiseren gezamenlijk de Theodora Niemeijer Prijs. Het is de enige Nederlandse beeldende kunstprijs speciaal voor vrouwelijke kunstenaars. De prijs wordt in 2021 voor de vijfde keer uitgereikt. De winnaar van deze vijfde editie is Silvia Martes met haar projectvoorstel Public Solitude, dat van 9 april tot en met 9 oktober 2022 tentoongesteld wordt in Het Oog, een ovale patio in het Van Abbemuseum. Pieter van der Wielen sprak met Silvia Martes.

Andrea van Pol spreekt de winnares van het Theodora Niemeijer Prijs 2021 in het Van Abbemuseum in Eindhoven. Het Niemeijer Fonds en het Van Abbemuseum organiseren gezamenlijk de Theodora Niemeijer Prijs een stimuleringsprijs voor beginnende vrouwelijke beeldende kunstenaars. Het is de enige Nederlandse beeldende kunstprijs speciaal voor vrouwelijke kunstenaars. De prijs wordt in 2021 voor de vijfde keer uitgereikt. De drie genomineerden van deze vijfde editie zijn het duo Razia Barsatie | Marjet Zwaans, Silvia Martes en Buhlebezwe Siwani. De projectvoorstellen zijn door de jury onder leiding van Hedy d'Ancona geselecteerd uit een recordaantal van 111 inzendingen. Op maandag maandag 27 september 2021 wordt bekend gemaakt aan wie de Theodora Niemeijer Prijs 2021 wordt uitgereikt.

Vivian Heyms en Silvan Vasilda zijn de curatoren, designers en projectleiders van het publieksprogramma ‘Wie zijn wij? Sporen van koloniaal verleden in Brabant’ in het Van Abbemuseum. Met een kerngroep onderzoeken zij de hedendaagse doorwerking van het koloniale verleden, dat ook in Brabant nog een rol speelt. Met hun publieksprogramma willen ze dat aan een groter publiek laten zien. Achtergronden bij deze aflevering vind je op Brabantserfgoed.nl/podcast/heyms-vasilda

Sessió amb Hito SteyerlArtista i assagista. És considerada una de les creadores actuals més rellevants dins el camp del videoart. Els seus textos, conferències, vídeos i instal·lacions vinculen la reflexió filosòfica i política a un activisme crític inserit en l’univers de la producció i circulació de la imatge i de la paraula. Doctora en Filosofia per la Universitat de Viena, doctora honoris causa pel Royal College of Art de Londres i professora a la Universitat de Berlín, el seu treball ha estat presentat en diverses mostres col·lectives com la 55a Biennal de Venècia (2013), la 13a Biennal d’Istanbul (2013) o Documenta 12, a Kassel (2007). A més de l’exposició monogràfica Duty-Free Art que el Museu Reina Sofia li dedica el 2019, ha exposat individualment en la 58a Biennal de Venècia (2019), l’ Artist Space de Nova York (2015), la galeria KOW de Berlín (2015), el Van Abbemuseum d’Eindhoven, l’ Institute of Contemporary Arts – ICA de Londres (2014) i l’Art Institute of Chicago (2012). Durant 2021, el Centre Pompidou de París i el museu K21 de Düsseldorf exhibeix I will survive, la retrospectiva més important de l’artista celebrada a França i Alemanya.

Vandaag in Spijkers met Koppen: Bert van de Wetering laat heel Nederland online zingen en Dolf en Willemijn zingen ook uit volle borst mee. ANP-hoofdredacteur Freek Staps laat de namen van fotografen weg bij relfoto's na meerdere incidenten. Journalist Chris Klomp is meermaals bedreigd en vertelt hierover. Thuiszitten is al lastig, maar zeker als je niet tegen andermans geluiden kunt. Cabaretier Wouter Monden en journalist Maarten van Gestel hebben misofonie en vertellen hoe ze de lockdown doorkomen. In het Van Abbemuseum hangt een mooie Kandisky, maar volgens Hester Bergen is dat schilderij van haar familie. Heeft een donorkind het recht te weten wie zijn of haar vader is? Advocaat Christiaan Alberdingk Thijm schreef een roman over het thema. Wie wordt de nieuwe voorzitter van de FNV? Kandidaten Tuur Elzinga en Kitty Jong vechten het uit. De punkband Hang Youth meent het echt: het hele systeem moet kapot. Bandlid Abel van Gijlswijk schuift aan. Tot slot is er live muziek van Stephanie Struijk, cabaret door Kiki Schippers, Aron Elstak, Peter van Rooijen en Hanneke Drenth en zijn de columns van Merijn Scholten en Emilio Guzman. Volg Spijkers met Koppen op: Instagram: www.instagram.com/spijkersbnnvara Facebook: www.facebook.com/spijkersmetkoppen

In het Van Abbemuseum in Eindhoven duiken Noortje en Gisbert in de geschiedenis van de moderne kunst. Veel kunstenaars die in de afgelopen twaalf afleveringen zijn besproken passeren nog één keer de revue en ook Noortje heeft zich voor deze ene keer ingelezen. Voorlopig is dit de laatste aflevering van deze podcast, maar medio februari pakken ze de draad weer op! Volg @kleinenichtje om in de tussentijd op de hoogte te blijven. Bedankt voor het luisteren!

We begin with a Case Study exchange with host Sylvain Souklaye and curator/artist Sabrina Huth, who sheds light on creating a physical exhibition “Stories of Absence” during the pandemic in Amsterdam. Then we proceed to a piece by performance artist Diana Schuemann (based in Haifa), who poses the question of movement during uncertain times. For our conversation portion, we welcome CAD+SRs very own Affecting Technologies research group featuring Katherine Ye, Gabriel Pereira, and Bruno Moreschi, a group of artists, researchers, technologists and activists, who work towards new countercultures of computing. Lastly, we end with a sound piece entitled “Água de Chocalho (Rattle Water)” introduced by sound curator KMRU, created by Brazilian sound artist and researcher, Yuri Bruscky. Gabriel Pereira Gabriel Pereira is a PhD fellow in Information Studies at Aarhus University (Denmark). He is interested in practices that bring together science and technology studies with software and artistic practice. His main research focus is around critical studies of data, algorithms, and digital infrastructures, especially for computer vision. In 2018-2019, with support from CAD+SR, he was a visiting Graduate Student at MIT's Global Media Technologies and Cultures Lab. Projects with Gabriel have been exhibited in the 33rd Sao Paulo Art Biennial, the Van Abbemuseum, IDFA DocLab, Itaú Cultural, and aarea.co. He is a 2019-2020 Researcher in Residence at CAD+SR. Bruno Moreschi Bruno Moreschi is a researcher and multidisciplinary artist. Postdoctoral fellow at the Faculty of Architecture and Urbanism at the University of São Paulo (FAUUSP), Ph.D. in Arts at the State University of Campinas (Unicamp), with a Capes scholarship, and exchange at the University of Arts of Helsinki (Kuva Art Academy), Finland, via CIMO Fellowship. His academic and artistic investigations are related to the deconstruction of systems and the decoding of their procedures and social practices – including here (but not only) experiences in the visual arts system and its spaces of legitimation. He currently conducts experiments in the field of Artificial Intelligence, in reverse engineering processes to carry out expanded practices of institutional critique and studies on human layers present in the training and maintenance of contemporary digital infrastructures. Projects recognized by scholarships, exhibitions and institutions such as Van Abbemuseum, 33rd Bienal de São Paulo, Rumos Award, Funarte, Capes, and Fapesp. Apart from being a senior research fellow at the Center, he is currently a researcher on the Histories of AI: Genealogy of Power (Department of History and Philosophy of Science, Cambridge University), and one of the coordinators of GAIA / C4AI / Inova USP, a group of researchers from different fields in the construction of democratic, artistic and experimental methods in the use of programming, machine learning, and Artificial Intelligences – always considering the specifics of the Global South context. Katherine YeKatherine Ye works on making computing more expressive and equitable. Ye is a Microsoft Research PhD Fellow at Carnegie Mellon University and co-organizes coveillance, a US-based collective working to reshape the balance of power between marginalized communities and computing.hypotext.cotwitter: @hypotext Sabrina Huth Sabrina currently lives and works as free-lance dance artist in Berlin. Next to her diploma studies in psychology (University of Vienna), she completed a teachers training for holistic dance and movement pedagogy (Institute INGATA). Since 2017, she increasingly explores interdisciplinary formats of artistic research within the frame of the Master`s program ‘Artistic Research’ at the University of Amsterdam and the Amsterdam University of the Arts.https://imaginedchoreographies.com Diana SchuemannDiana Schuemann, (German-Yugoslavian) holds a MA degree in Holocaust Studies (University Haifa). She has built her dance roots in the Berliner (Hip Hop) Dance scene, is a performer as well as art historian with a research focus on dance pieces dealing with the Holocaust and Genocide. Whilst originally coming from the Hip Hop dance scene, Diana developed throughout the past five years an approach of movement research which combines Hip Hop dance, modern and contemporary dance as well as improvisation techniques. She studied for the duration of a year dance at the Lola Rogge School in Hamburg. Joining later on the Israeli dance scene enabled her to explore a for her deeper understanding through Ohad Naharin´s Gaga technique. From 2017-2018 Diana carried out research with Israeli high school students, discussing and exploring the use of dance for teaching about the Holocaust. https://www.instagram.com/_d_i________/ https://www.facebook.com/The-Parrots-Dress-1754607864770242/ Yuri BrusckyYuri Bruscky (Brazil, 1985). Sound artist and researcher, doctoral student in Sociology at the Federal University of Pernambuco/UFPE, Brazil. He develops artistic investigations exploring intersections between noise, language and everyday practices. Since 2010 he has maintained the label Estranhas Ocupações, through which he releases records and publications and organizes concerts. He is co-creator of the sound art festival Rumor and the seminar and artistic residence program (Entre) Lugares Sonoros, as well as co-author of the book História da Poesia Visual Brasileira (Cepe, 2018).https://www.instagram.com/yuri.bruscky/?hl=en See acast.com/privacy for privacy and opt-out information.

Victor Sonna is beeldend kunstenaar. Hij is geboren in Kameroen en migreerde op jonge leeftijd naar Nederland. Hij maakt divers werk en gebruikt daarbij verschillende materialen en technieken. Maar hoe verscheiden zijn werk ook is, de onderliggende motivatie is het overbruggen van tegenstellingen. Dat komt terug in zijn abstracte, kleurrijke schilderijen. Zijn werk wordt internationaal getoond. In het Van Abbemuseum in Eindhoven is vanaf deze week zijn solotentoonstelling 1525 te zien, waarin hij op geheel eigen wijze het thema slavernij behandelt. Pieter van der Wielen spreekt met Victor Sonna.

PROARTESMEXICO.COM.MX Entrevista en español con Daniel Godínez Nivón por Stephanie García, 3 de junio, 2020. Interview in Spanish with Daniel Godínez Nivón by Stephanie García, June 3rd, 2020. Daniel estudió Artes Visuales en la Escuela Nacional de Artes Plásticas de la UNAM y la Maestría en la misma casa de estudios. En 2011, es coautor del Libro Medios Múltiples 3. Su obra se ha presentado de forma colectiva en la exposición Jardín de Academus: Laboratorios de arte y educación en el MUAC, VanAbbe Museum en Holanda y el Center for Contemporary Arts CCA en Glasgow. Ha sido Becario del Programa Jóvenes Creadores durante 2011 – 2012 y 2019 – 2020 del Fondo Nacional de la Cultura y las Artes. En 2014, estudia en la Escuela Nacional Superior de Bellas Artes de Paris. En 2019, es nominado para obtener el Visible Award. Daniel studied Visual Arts at the National School of Visual Arts of the National Autonomous University of México. In 2011, he co-authored the book Multiple Media 3. His work was presented in the collective exhibition Academus Garden: Art laboratories and education in MUAC, Van Abbemuseum in the Netherlands, and CCA in Glasgow. He was in the Fellow Young Artists Program (2011-2012 and 2019 - 2020) by the National Fund for Culture and the Arts for his Tequio-Rolas project. In 2014, he studied at the Superior National School of Fine Arts in Paris. In 2019 he was nominated for the Visible Award. En esta serie bilingüe, PROArtes México invita a creadores de arte contemporáneo que trabajan en Estados Unidos de América y México, y charlan sobre su trabajo, conceptos, ideas e intereses. Las versiones traducidas de las entrevistas se encontrarán disponibles en nuestra página web. Here&There: Conversations with Creators from the MX &USA: In this bilingual series, PROArtes México sits down with contemporary artists working in the USA or MX and discusses their work, concepts, ideas, and interests in their preferred language. A translated version of the interviews available on our website.

Max Presneill is a Los Angeles based UK artist and curator. He has exhibited throughout the world including New York, London, Amsterdam, Paris, Berlin, Frankfurt, Vienna, Istanbul, Sydney, Brisbane, Guangzhou and Tokyo and is represented by the Garboushian Gallery, Beverly Hills, Gallery Lara in Tokyo, TW Fine Art in Brisbane, Australia, ICFA in Beijing, China as well as the Durden & Ray collective in Los Angeles. His work has been shown at art fairs including The Armory Show, NYC and Miami Projects, Miami and has been included in the Istanbul Biennial and the Yokohama Triennial as well as museums, including Lancaster Museum of Art & History in California, Museum Villa Seiz in Germany, Ucity Art Museum, Guangzhou, China, Art Museum of W Carolina University, Van Abbemuseum and the Hudson Museum, both in The Netherlands, and the Mappin Museum in UK. You can learn more about Max and see his work at https://www.maxpresneill.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/creativecourage/support

This six part miniseries is based on the conference The Roadmap to Equality In The Arts that took place 18 January 2020 and dealt with the undeniable under- and misrepresentation of women artists, Women of Colour, non-binary and genderqueer artists in the Dutch art world. With performances, keynotes, presentations and panels the conference attempted to establish stepping-stones on the path to gender equality in the arts by raising awareness, gathering data and mobilising existing networks and collective knowledge.   The second episode deals with the lack of overview of the situation in the visual arts in the Netherlands in terms of data and the critical situation in Dutch museum spaces with regards to representation. It features Agnès Saal of the French Ministry of Culture on data monitoring and evaluation as the only way to influence policies, Galit Eilat on her pioneering research into the collection of the Van Abbemuseum and Pauline Salet on her research into the percentage of female artists in eight Dutch museums initiated by Mama Cash. It also touches upon the downsides of collecting quantitative data and the importance of qualitative research through collecting subjective stories.   Links:   The Equality Roadmap in Culture https://www.culture.gouv.fr/Sites-thematiques/Egalite-et-diversite/Les-engagements-du-Ministere/Feuille-de-route-Egalite-2019-2022).   Research Mama Cash: https://www.mamacash.org/media/documents/the_position_of_women_artists_in_four_art_disciplines_in_the_netherlands__mama_cash_2019.pdf).   References to literature can be found via the websites https://atria.nl/ and https://www.boekman.nl.   For the results of the ArtEZ BEAR survey, see: https://studiumgenerale.artez.nl/nl/studies/all/blog/survey+bear+alumni+2014+2018/   If you want to be involved in the workgroup, please contact: Catelijne de Muijnck (ArtEZ studium generale) c.demuijnck@artez.nl Dephine Bedel (Meta/Books) mailing@delphinebedel.com Els Cornelis evkcornelis@gmail.com

Usha Seejarim, artist from South Africa, introduces a key moment of transformation in her life, when she was asked to design a permanent public memorial for Nelson Mandela in anticipation of his death. Afterwards, we converse with sociologist of the arts Margarita Kuleva (Russia), artist/researcher Bruno Moreschi (Brazil) and technology researcher/activist Jackline Kemigisa (Uganda) about how they see their work in relation to the theme of Dis/Order. Portions of this program were recorded at the AfroQueer podcast studios in Nairobi, Kenya.Bruno MoreschiResearcher and multidisciplinary artist. Postdoctoral fellow at the Faculty of Architecture and Urbanism at the University of São Paulo (FAUUSP), PhD in Arts at the State University of Campinas (Unicamp), with a Capes scholarship, and exchange at the University of Arts of Helsinki (Kuva Art Academy), Finland, via CIMO Fellowship. His academic and artistic investigations are related to the deconstruction of systems and the decoding of their procedures and social practices – including here (but not only) experiences in the visual arts system and its spaces of legitimation. He currently conducts experiments in the field of Artificial Intelligence, in reverse engineering processes to carry out expanded practices of institutional critique and studies on human layers present in the training and maintenance of contemporary digital infrastructures. Projects recognized by scholarships, exhibitions and institutions such as Van Abbemuseum, 33rd Bienal de São Paulo, Rumos Award, Funarte, Capes and Fapesp. He is currently a researcher on the Histories of AI: Genealogy of Power (Department of History and Philosophy of Science, Cambridge University), senior researcher at the Center for Arts, Design and Social Research (CAD+SR) and one of the coordinators of GAIA / C4AI / Inova USP, a group of researchers from different fields in the construction of democratic, artistic and experimental methods in the use of programming, machine learning and Artificial Intelligences – always considering the specifics of the Global South context.Jackline KemigisaJackline Kemigisa is a feminist Journalist and Podcaster interested in the intersection between technology and the media. Currently, she is pursuing a Masterʼs degree in Digital Journalism and technologies. Before this, Jackline ran a hybrid publication called Parliament Watch, a platform that monitors and updates on Parliament of Uganda, East African Legislative Assembly through leveraging new technology as its primary means of communication as an editor and researcher on Parliamentary democracy in Uganda. The Africa Innovation summit has featured her work among the top 50 technology solutions under the media category, and she is currently sitting on the Africa Innovate board, representing Eastern Africa. As a journalist, her work has been published by the Womenʼs Media Centre, Independent UK, and several Ugandan publications. She also co- hosted a women biased history podcast called Wulira. As a blogger, she contributes to a women publication focusing on telling stories of Ugandan women called women for women in Uganda. Her areas of interest include: Feminisms, Media, decolonization, democracy, and governance See acast.com/privacy for privacy and opt-out information.

Recently, Jessa attended a fascinating exhibition of mysticism and art at the IMMA in Dublin called “As Above, So Below: Portals, Visions, Spirits & Mystics.” Pádraic E Moore, writer/curator/art historian from Ireland based in Brussels, was a curatorial advisor for the exhibition. He joins Jessa via Skype to discuss the secret history of the occult and modernism and the role it played in art, writing, and revolution. Pádraic E. Moore (b. 1982) is a writer, curator, and art historian. He holds a BA in History of Art and English Literature from University College Dublin (2004), an MA in Visual Art Practices from IADT, Dublin (2007), and completed CuratorLab, the postgraduate programme at Konstfack University, Stockholm (2010). Moore's practice is shaped by the belief that visual art enables alternative modes of interaction in a world increasingly led by techno­logical rationality. Moore's curatorial methodology is meticulous but subjective, and is informed by an acute awareness of the artist's individual position. Moore's research interests focus on the influence of esoteric philosophies upon the literary and visual arts. Recent study considers how occult organisations, such as the Theosophical Society, offered a vital catalyst for change in late 19th and early 20th century art. Moore's projects often explore how contemporary culture has embraced aesthetics and ideals informed by such esoteric traditions; chronicling the work of artists who refer to or follow in this tradition is an integral aspect of his practice. Recent projects include: Drawing Down the Moon at the Irish Museum of Modern Art (2017); I Went to the Woods: The Artist as Wanderer, Glucksman Gallery, Cork (2016) Music for Chameleons, a project for Parcours: Art Basel, (2016); Now is forever lasting constant in the mind, a project for Van Abbemuseum, Eindhoven, (2016); Ψ (Psi), a project for Fokidos, Athens. “As Above, So Below: Portals, Visions, Spirits, & Mystics” IMMA page: http://www.imma.ie/en/page_237202.htm  SUBSCRIBE to the #PublicIntellectual #Patreon page to access bonus content, merch, and more: https://www.patreon.com/publicintellectual

SONIC ACTS FESTIVAL 2019 – HEREAFTER The Otolith Group and Annie Fletcher – Eastman is the Matter at Hand24 February – De Brakke Grond, Amsterdam, The Netherlands With an introduction by Emily Pethick. From the late 1960s until his death in 1990 at the age of 49, Julius Eastman, the queer African-American avant-garde composer, pianist, vocalist and conductor, wrote and performed compositions whose ecstatic militant minimalism initiated a black radical aesthetic that revolutionised the East Coast’s new music scene of the 1970s and 1980s. No recordings of Eastman’s compositions were released during his lifetime. In January 1980, Julius Eastman was invited by the Music Department at Northwestern University in Evanston, Illinois to present his compositions Crazy Nigger (1978), Evil Nigger (1979) and Gay Guerrilla (1979). A number of African-American students and one faculty member objected to the titles of Eastman’s compositions. The titles were redacted from the concert programme. Before the concert on 16 January 1980, Eastman delivered a public statement that responded to these objections. The speeches delivered by two speakers in The Otolith Group’s video, The Third Part of the Third Measure (2017) – on display as the installation at the Stedelijk Museum Amsterdam during the festival – are based on each performer’s adapted transcription of Eastman’s Northwestern statement. This talk by The Otolith Group – Anjalika Sagar and Kodwo Eshun – who will be joined by Annie Fletcher, will focus on the importance of this Afrofuturist artist and expand on ideas in making the film. In May 2019, the Van Abbemuseum, Eindhoven, will present the first large scale solo exhibition of The Otolith Group. The exhibition is curated by Annie Fletcher. Founded by Anjalika Sagar and Kodwo Eshun, The Otolith Group makes films, installations, and performances that are driven by extensive research into the histories of science fiction and the legacies of transnationalism. Their works and curatorial projects explore the temporal anomalies, anthropic inversions and synthetic alienation of the posthuman, the inhuman, the non-human and the anti-human. In 2010 The Otolith Group were nominated for the Turner Prize. Annie Fletcher is the chief curator at the Van Abbemuseum. Her projects include the solo exhibition of Qiu Zhijie, the ten-day project in collaboration with DAI called Becoming More in 2017, a collaborative research project led by Vivian Ziherl called Frontier Imaginaries: Trade Markings in 2018 and a large-scale and travelling museum retrospective of the Otolith Group in 2019. She tutors at De Appel, Amsterdam, Dutch Art Institute, Arnhem and Design Academy Eindhoven. She is part of a team that developed the Museum of Arte Útil with Tania Bruguera in 2013 and continues to develop the Association of Arte Útil today. Other projects include solo exhibitions or presentations with Ahmet Ögut, Hito Steyerl, Sheela Gowda, David Maljković, Jo Baer, Jutta Koether, Deimantas Narkevičius, Minerva Cuevas and long-term projects Be(com)ing Dutch (2006 – 09) and Cork Caucus (2005), both with Charles Esche.

SONIC ACTS FESTIVAL 2019 – HEREAFTER Elizabeth A. Povinelli – After the End, Stubborn Affects and Collective Practices 24 February – De Brakke Grond, Amsterdam, The Netherlands With an introduction by Mirna Belina. As many in the West look forward to a climate-induced end of times, huge areas of the human and nonhuman world have been struggling to exist in the toxic excrement of late liberal capitalism. For them, the end of the world has already happened – and it has happened multiple times: the catastrophe of colonialism and imperialism, neoliberalism and extractive capitalism, toxicity and disrepair. This talk asks what affective and collective practices look like if viewed from within worlds that have long existed after the end, using the Karrabing Film Collective as a special case. Elizabeth A. Povinelli is an anthropologist and filmmaker. She is Franz Boas Professor of Anthropology at Columbia University, New York, Corresponding Fellow of the Australian Academy of Humanities and a founding member of the Karrabing Film Collective. She is the author of five books, including the most recent, Geontologies: A Requiem to Late Liberalism (2016), winner of the Lionel Trilling Book Award. Karrabing films and installations have shown at the Tate Modern, Berlinale Forum Expanded, Melbourne International Film Festival, Contour Biennale, Sydney Biennale, Van Abbemuseum, Institute for Modern Art in Brisbane, Vargas Museum and other venues. Povinelli lives and works in New York City and Darwin, Australia. The visit of Elizabeth Povinelli was made possible by Het Nieuwe Instituut with support of the Ministry of Foreign Affairs.

Alistair Hudson, Director of the Whitworth in Manchester and Charles Esche, Director of the Van Abbemuseum in Eindhoven have been awarded a Transformative Grant to rethink their respective art institutions. They join Front Row to discuss how the concept of useful art has the power to remake museums and galleries fit for the 21st century. England has one, Scotland has one, Wales has two, but Northern Ireland has none – we’re talking National Theatres. Nóirín McKinney, Director of Arts Development at Arts Council of Northern Ireland, reflects on the desire for a National Theatre of Northern Ireland, and why it has yet to be fulfilled. The bicentenary of the birth of celebrated art critic John Ruskin is being marked by events and exhibitions across the country, but one art historian has gone further than most in bringing Ruskin’s work to life for a modern audience. Dr Paul O’Keefe has been performing Ruskin’s lectures in character for two decades. He explains why a bad wig turned out to be the perfect prop for his transformation and what he’s learnt from portraying Ruskin as he gives his lectures. After winning the Best Actress Oscar for her performance in Room, and before starring in the recent superhero adventure Captain Marvel, Brie Larson decided to make her directorial debut with the film Unicorn Store about a failed arts student who while struggling to make her way in the corporate world receives a curious invitation to a Unicorn store. Annabel Grundy, Major Programmes Manager at the Broadway Cinema in Nottingham reviews. Presenter: John Wilson Producer: Ekene Akalawu

In de laatste aflevering van dit seizoen van de Brabants Erfgoed Podcast is kunsthistorica Evelien Scheltinga te gast. Ze vertelt ons over haar onderzoek naar het Van Abbemuseum gedurende de Tweede Wereldoorlog. Welke gevolgen had de Duitse bezetting voor exposities in het museum? Achtergronden bij de aflevering vind je op www.brabantserfgoed.nl/podcast/aflevering12.

Anastasia Kubrak – RU/NL, designer & researcher (User-Agent) Anastasia Kubrak (ænəsteʒə kubrak; born 10 January, 1993) is a designer and researcher based in Rotterdam. In her work she focuses on social and political implications of emerging technologies, surveillance economies and algorithmic governance in urban space. Her projects have been exhibited by Van Abbemuseum, Baltan Laboratories, WORM, Chaumont Biennale de Design Graphique, and her writing has been published by The Institute of Network Cultures, Nichons-nous dans l'Internet and Design Academy Eindhoven #TVClerici Reader. http://anastasiakubrak.com/about.html Edited by Charlie Clemoes for Hackers and Designers

The second episode within the Lisson…ON AIR series of podcasts is focused on the sound work and the collaborative music endeavours of Laure Prouvost. It will air during her inaugural exhibition at Lisson Gallery that is taking place at our 10th Avenue gallery space in New York. Lisson presents… ON AIR is written and made by Hana Noorali. The episode includes the following track list: This Voice is a Big Whale, 2013 Sound work by Laure Prouvost We are Waiting for you, 2017 Lyrics by Sam Belinfante & Laure Prouvost Music by Eli Keszler This song was co-commissioned by The Walker, Minneapolis, USA and EMPAC/Rensselaer, Troy, NY, USA and was included in Laure Prouvost’s performance for stage at both of these institutions. Tea-song, 2014 Lyrics by Laure Prouvost Music by Dan Aran Grand dad, 2010 Lyrics by Laure Prouvost Music by Sal Cemolonskas UKstaywithusEU, 2018 Lyrics by Laure Prouvost & Nick Aitkens Music by Frederick Macpherson This song was commissioned by the Van Abbemuseum, Eindhoven, Netherlands in 2017. Image: Laure Prouvost, Monteverdi ici, (detail) 2018, HD video, Dimensions variable 5 minutes 53 seconds Courtesy the artist and Lisson Gallery

smARTplaces | INNOVATION in Culture | Conference 3/01/2018 - 03/02/2018, Media Theater Marleen Hartjes, project leader STUDIO i, Van Abbemuseum, Eindhoven From March 1st to 2nd, 2018, the conference »smARTplaces | INNOVATION in Culture« takes place at the ZKM | Karlsruhe as part of the EU project »smARTplaces«. Not only is digitization now in art’s DNA, cultural institutions are beginning to embark on disruptive paths in order to facilitate and support innovative processes. The »smARTplaces | INNOVATION in Culture« conference analyzes possibilities, and also necessities, of digital renewal within culture and spotlights audience development. The first of three conferences, »smARTplaces | INNOVATION in Culture« investigates the relationship between visitor, institution, and technology. Over the course of two days, innovation talks, experience flights, fishbowls, workshops, and seminars engage with themes connected with and deriving from cultural work at the beginning of the twenty-first century: Who are our visitors? How can we get to know more about them? And what are we permitted to know about them in order that we, as a cultural institution, do not lose our corrective function vis à vis social developments? Of what relevance are technologies such as games, AR, and VR – which art is already utilizing – for dialogue with the visitors and what scenarios – with regard to AI – will be on their way in the upcoming years? With experience design of cultural offerings, design thinking in work processes, and change management of institutional structure, the conference aims to accompany the cultural institution during its development into the »museum as a source of experience«, a place of exploring, discovering, and developing. Speakers scheduled for the conference are amongst others Christian Ulrik Andersen (Aarhus University), Alain Bieber (nrw Forum, Düsseldorf), Björn Bohnenkamp (Karlshochschule International University Karlsruhe), Lourdes Fernandez (Azkuna Zentroa Bilbao), Michela Magas (Music Tech Fest/ »European Woman Innovator of the Year«), Oliver Rack (Open Government Partnership Germany), Margit Rosen (ZKM | Karlsruhe), Paula Susaeta (Mapfre Foundation, Majadahonda/ Spain), Peter Weibel (ZKM Karlsruhe), Martin Zierold (Hochschule für Musik und Theater, Hamburg).

Richard Phillips was born in 1962 in Marblehead, Massachusetts. He received his B.F.A. in 1984 from Massachusetts College of Art in Boston, and his M.F.A. in 1986 from Yale University. His recent solo museum exhibitions include Kunsthalle Zürich in Switzerland , Kunstverein Hamburg in Germany, “Paintings and Drawings,” at Le Consortium in Dijon, “Lindsay Lohan,” at the Institute of Modern Art in Brisbane and “Negation of the Universe,” at the Dallas Contemporary in Texas . His work in public collections include the Museum of Modern Art, New York, the Whitney Museum of American Art, the Albright-Knox Art Gallery in Buffalo, the San Francisco Museum of Modern Art, the Denver Art Museum, the Modern Art Museum of Fort Worth in Texas, the Museum of Contemporary Art in North Miami, the Tate Modern in London and the Van Abbemuseum in the Netherlands. His films ‘Lindsay Lohan’ and ‘Sasha Grey’ premiered at the 54th Venice Bienale in 2011 and at the Institute of Modern Art in Brisbane in 2012. First Point premiered at Art Unlimited at Art Basel, Switzerland in June 2012. Brian met up with Richard at his Red Hook studio in Brooklyn and they spoke about his early days in the Village making sculptural paintings, surfing and racing, the impact of music, Blinky and Motherwell and lots more.

Recently, Jessa attended a fascinating exhibition of mysticism and art at the IMMA in Dublin called As Above, So Below: Portals, Visions, Spirits & Mystics. Pdraic E Moore, writer/curator/art historian from Ireland based in Brussels, was a curatorial advisor for the exhibition. He joins Jessa via Skype to discuss the secret history of the occult and modernism and the role it played in art, writing, and revolution. Pdraic E. Moore (b. 1982) is a writer, curator, and art historian. He holds a BA in History of Art and English Literature from University College Dublin (2004), an MA in Visual Art Practices from IADT, Dublin (2007), and completed CuratorLab, the postgraduate programme at Konstfack University, Stockholm (2010). Moores practice is shaped by the belief that visual art enables alternative modes of interaction in a world increasingly led by technological rationality. Moores curatorial methodology is meticulous but subjective, and is informed by an acute awareness of the artists individual position. Moores research interests focus on the influence of esoteric philosophies upon the literary and visual arts. Recent study considers how occult organisations, such as the Theosophical Society, offered a vital catalyst for change in late 19th and early 20th century art. Moores projects often explore how contemporary culture has embraced aesthetics and ideals informed by such esoteric traditions; chronicling the work of artists who refer to or follow in this tradition is an integral aspect of his practice. Recent projects include: Drawing Down the Moon at the Irish Museum of Modern Art (2017); I Went to the Woods: The Artist as Wanderer, Glucksman Gallery, Cork (2016) Music for Chameleons, a project for Parcours: Art Basel, (2016); Now is forever lasting constant in the mind, a project for Van Abbemuseum, Eindhoven, (2016); (Psi), a project for Fokidos, Athens. As Above, So Below: Portals, Visions, Spirits, & Mystics IMMA page: http://www.imma.ie/en/page_237202.htm SUBSCRIBE to the #PublicIntellectual #Patreon page to access bonus content, merch, and more:https://www.patreon.com/publicintellectualPLEASE SUBSCRIBE AND RATE US on Apple Podcasts, Google Play, Stitcher, or wherever you get your podcasts. PUBLIC INTELLECTUAL IS A FOREVER DOG PODCASThttp://foreverdogproductions.com/fdpn/podcasts/public-intellectual/

Ricardo Dominguez is a co-founder of The Electronic Disturbance Theater (EDT), a group who developed virtual sit-in technologies in solidarity with the Zapatistas communities in Chiapas, Mexico, in 1998. His recent Electronic Disturbance Theater 2.0/b.a.n.g. lab project with Brett Stalbaum, Micha Cardenas, Amy Sara Carroll, and Elle Mehrmand, the Transborder Immigrant Tool (a GPS cell phone safety net tool for crossing the Mexico / United States border) was the winner of “Transnational Communities Award” (2008), an award funded by Cultural Contact, Endowment for Culture Mexico–US and handed out by the United States Embassy in Mexico. It also was funded by CALIT2 and the UC San Diego Center for the Humanities. The Transborder Immigrant Tool has been exhibited at the 2010 California Biennial (OCMA), Toronto Free Gallery, Canada (2011), The Van Abbemuseum, Netherlands (2013), ZKM, Germany (2013), as well as a number of other national and international venues. The project was also under investigation by the United States Congress in 2009-2010 and was reviewed by Glenn Beck in 2010 as a gesture that potentially “dissolved” the United States border with its poetry. Dominguez is an associate professor at the University of California, San Diego, in the Visual Arts Department, a Hellman Fellow, and Principal/Principle Investigator at CALIT2 and the Performative Nano-Robotics Lab at SME, UCSD. He also is co-founder of *particle group*, with artists Diane Ludin, Nina Waisman, Amy Sara Carroll, whose art project about nano-toxicology entitled *Particles of Interest: Tales of the Matter Market* has been presented at the House of World Cultures, Berlin (2007), the San Diego Museum of Art (2008), Oi Futuro, Brazil (2008), CAL NanoSystems Institute, UCLA (2009), Medialab-Prado, Madrid (2009), E-Poetry Festival, Barcelona, Spain (2009), Nanosférica, NYU (2010), and SOMA, Mexico City, Mexico (2012), Cornell University (2104).

The IMA presents a talk by Charles Esche, Director of the Van Abbemuseum, Eindhoven, The Netherlands. This is the forth presentation in a series of talks running throughout the year titled 'What Can Art Institutions Do?' Esche has been a leading voice in curatorial practice for two decades, and has been directing the Van Abbemuseum since 2004. In 2014, Esche was awarded Bard College’s Audrey Irmas Award for Curatorial Excellence. The prize honors multiple things including his endless commitment to rethinking what art can do and redefining what it can be. Esche has been involved in exhibitions such as Strange and Close at CAPC, Bordeaux (2011); An Idea for Living at the U3 Slovene Triennale (2011); the 2nd and 3rd RIWAQ Biennials in Ramallah, Palestine (2007/2009); the 9th International Istanbul Biennial (2005); and the 4th Gwangju Biennale, Republic of Korea (2002). He curated the 31st Sao Paulo Bienale which opened in the autumn of 2014.

Koen Kleijn doet verslag van Pull Focus, de solotentoonstelling (met veertien films) van de Canadese kunstenaar Mark Lewis in het Van Abbemuseum te Eindhoven. In Straus Park, de vierde roman van de Vlaamse schrijver P.B. Gronda, ontmoet de hoofdpersoon de vrouw van zijn leven. Hij heeft maar een doel: haar liefde winnen. Maar mensen dragen [...]

Wim Noordhoek doet verslag van de foto’s van Frank van der Salm in het Stedelijk Schiedam. Het nieuwe stedelijke landschap in het Verre Oosten.   Met de solotentoonstelling René Daniëls: Een tentoonstelling is ook altijd een deel van een groter geheel brengt het Van Abbemuseum een ode aan de Eindhovense kunstenaar wiens oeuvre nog steeds [...]

Herm Pol bespreekt Mr, de debuutroman van de Parijse schrijfster Emma Becker. Een boek over verlangen dat in een obsessie ontaardt en uiteindelijk zelfs in vervreemding. Beeldend kunstenaar Roland Schimmel werkt in het Van Abbemuseum in Eindhoven aan een muurschildering. Het onschuldige oog is een werk dat onder invloed van het wisselende daglicht voortdurend [...]

SALT ve Van Abbemuseum işbirliğinde gerçekleştirilen İstanbul Eindhoven-SALTVanAbbe projesinin ilk sergisi İstanbul Eindhoven-SALTVanAbbe: 89’dan Sonra 27 Ocak’ta açılıyor. SALT Beyoğlu ve SALT Galata’da yer alan sergi, Van Abbemuseum koleksiyonundan 1989 sonrası üretilmiş işleri içeriyor. SALT, Van Abbemuseum ekibiyle birlikte, uluslararası platformda iyi bilinen ancak İstanbul’da yeterince tanınmayan ya da işleri hiç gösterilmemiş 15 sanatçının 40’tan fazla işini seçti. Bu işlerin ilham verici önemi ile ilk elden deneyimlenmesi gerektiğine duyulan inancın yanı sıra bu seçki, döneme dair sanatsal pratiklerin incelediği birtakım kilit temalar etrafında şekilleniyor. Bunlar, Marlene Dumas’nın Models [Modeller] adlı resimlerinden oluşan enstalasyon ile Rineke Dijkstra’nın fotoğraflarını da içeren “portreleme”; Allen Ruppersberg’ün, Allen Ginsberg’ün ünlü şiiri Uluma’ya ithafen yaptığı işin başrolü üstlendiği “edebiyat ve metin”; Douglas Gordon ve Rodney Graham’ın pratiği ve işleri üzerinden “film” ve Stanley Brouwn’un kavramsal olarak derinlemesine ele aldığı “zaman ve mekân” gibi temaları kapsıyor. Türkiye’den sanatçılardan seçilen işler, benzer fikir ve yaklaşımlarla görsel ve kavramsal diyaloğa girmeleri için bu tematik bölümlere yerleştirildi. Bunlar arasında Leyla Gediz’in portrelemeye farklı bir yaklaşım öneren işleri, Cevdet Erek’in ritim ve ölçü üzerine çalışmaları, Özlem Günyol & Mustafa Kunt’un coğrafi pozisyon ve çeviri ile oynayan oyunları ile İnci Eviner’in film setine benzeyen alışılmadık panoramaları yer alıyor.

SALT ve Van Abbemuseum işbirliğinde gerçekleştirilen İstanbul Eindhoven-SALTVanAbbe projesinin ilk sergisi İstanbul Eindhoven-SALTVanAbbe: 89’dan Sonra 27 Ocak’ta açılıyor. SALT Beyoğlu ve SALT Galata’da yer alan sergi, Van Abbemuseum koleksiyonundan 1989 sonrası üretilmiş işleri içeriyor. SALT, Van Abbemuseum ekibiyle birlikte, uluslararası platformda iyi bilinen ancak İstanbul’da yeterince tanınmayan ya da işleri hiç gösterilmemiş 15 sanatçının 40’tan fazla işini seçti. Bu işlerin ilham verici önemi ile ilk elden deneyimlenmesi gerektiğine duyulan inancın yanı sıra bu seçki, döneme dair sanatsal pratiklerin incelediği birtakım kilit temalar etrafında şekilleniyor. Bunlar, Marlene Dumas’nın Models [Modeller] adlı resimlerinden oluşan enstalasyon ile Rineke Dijkstra’nın fotoğraflarını da içeren “portreleme”; Allen Ruppersberg’ün, Allen Ginsberg’ün ünlü şiiri Uluma’ya ithafen yaptığı işin başrolü üstlendiği “edebiyat ve metin”; Douglas Gordon ve Rodney Graham’ın pratiği ve işleri üzerinden “film” ve Stanley Brouwn’un kavramsal olarak derinlemesine ele aldığı “zaman ve mekân” gibi temaları kapsıyor. Türkiye’den sanatçılardan seçilen işler, benzer fikir ve yaklaşımlarla görsel ve kavramsal diyaloğa girmeleri için bu tematik bölümlere yerleştirildi. Bunlar arasında Leyla Gediz’in portrelemeye farklı bir yaklaşım öneren işleri, Cevdet Erek’in ritim ve ölçü üzerine çalışmaları, Özlem Günyol & Mustafa Kunt’un coğrafi pozisyon ve çeviri ile oynayan oyunları ile İnci Eviner’in film setine benzeyen alışılmadık panoramaları yer alıyor.

SALT ve Van Abbemuseum işbirliğinde gerçekleştirilen İstanbul Eindhoven-SALTVanAbbe projesinin ilk sergisi İstanbul Eindhoven-SALTVanAbbe: 89’dan Sonra 27 Ocak’ta açılıyor. SALT Beyoğlu ve SALT Galata’da yer alan sergi, Van Abbemuseum koleksiyonundan 1989 sonrası üretilmiş işleri içeriyor. SALT, Van Abbemuseum ekibiyle birlikte, uluslararası platformda iyi bilinen ancak İstanbul’da yeterince tanınmayan ya da işleri hiç gösterilmemiş 15 sanatçının 40’tan fazla işini seçti. Bu işlerin ilham verici önemi ile ilk elden deneyimlenmesi gerektiğine duyulan inancın yanı sıra bu seçki, döneme dair sanatsal pratiklerin incelediği birtakım kilit temalar etrafında şekilleniyor. Bunlar, Marlene Dumas’nın Models [Modeller] adlı resimlerinden oluşan enstalasyon ile Rineke Dijkstra’nın fotoğraflarını da içeren “portreleme”; Allen Ruppersberg’ün, Allen Ginsberg’ün ünlü şiiri Uluma’ya ithafen yaptığı işin başrolü üstlendiği “edebiyat ve metin”; Douglas Gordon ve Rodney Graham’ın pratiği ve işleri üzerinden “film” ve Stanley Brouwn’un kavramsal olarak derinlemesine ele aldığı “zaman ve mekân” gibi temaları kapsıyor. Türkiye’den sanatçılardan seçilen işler, benzer fikir ve yaklaşımlarla görsel ve kavramsal diyaloğa girmeleri için bu tematik bölümlere yerleştirildi. Bunlar arasında Leyla Gediz’in portrelemeye farklı bir yaklaşım öneren işleri, Cevdet Erek’in ritim ve ölçü üzerine çalışmaları, Özlem Günyol & Mustafa Kunt’un coğrafi pozisyon ve çeviri ile oynayan oyunları ile İnci Eviner’in film setine benzeyen alışılmadık panoramaları yer alıyor.

SALT ve Van Abbemuseum işbirliğinde gerçekleştirilen İstanbul Eindhoven-SALTVanAbbe projesinin ilk sergisi İstanbul Eindhoven-SALTVanAbbe: 89’dan Sonra 27 Ocak’ta açılıyor. SALT Beyoğlu ve SALT Galata’da yer alan sergi, Van Abbemuseum koleksiyonundan 1989 sonrası üretilmiş işleri içeriyor. SALT, Van Abbemuseum ekibiyle birlikte, uluslararası platformda iyi bilinen ancak İstanbul’da yeterince tanınmayan ya da işleri hiç gösterilmemiş 15 sanatçının 40’tan fazla işini seçti. Bu işlerin ilham verici önemi ile ilk elden deneyimlenmesi gerektiğine duyulan inancın yanı sıra bu seçki, döneme dair sanatsal pratiklerin incelediği birtakım kilit temalar etrafında şekilleniyor. Bunlar, Marlene Dumas’nın Models [Modeller] adlı resimlerinden oluşan enstalasyon ile Rineke Dijkstra’nın fotoğraflarını da içeren “portreleme”; Allen Ruppersberg’ün, Allen Ginsberg’ün ünlü şiiri Uluma’ya ithafen yaptığı işin başrolü üstlendiği “edebiyat ve metin”; Douglas Gordon ve Rodney Graham’ın pratiği ve işleri üzerinden “film” ve Stanley Brouwn’un kavramsal olarak derinlemesine ele aldığı “zaman ve mekân” gibi temaları kapsıyor. Türkiye’den sanatçılardan seçilen işler, benzer fikir ve yaklaşımlarla görsel ve kavramsal diyaloğa girmeleri için bu tematik bölümlere yerleştirildi. Bunlar arasında Leyla Gediz’in portrelemeye farklı bir yaklaşım öneren işleri, Cevdet Erek’in ritim ve ölçü üzerine çalışmaları, Özlem Günyol & Mustafa Kunt’un coğrafi pozisyon ve çeviri ile oynayan oyunları ile İnci Eviner’in film setine benzeyen alışılmadık panoramaları yer alıyor.