For the first time, Romanian/British artist Paul Neagu (Bucharest, 1938 – London, 2004) exhibits in The Netherlands, at Parts Project! The work of Paul Neagu is widely collected by the most important international museums as well as private collectors from all over the world. Both in his country of origin, Romania, and in England, his adopted country, he was embraced by the professional art world as one of the major conceptual artists of his time. He knew his way around in almost all media and did not restrict his experiments to his activities as a sculptor, painter or as a graphic or performance artist. In addition he applied all conceivable new techniques that were being discovered in his time, such as 3D installations which often required the participation of the public. In consequence, he is unquestionably regarded as the visual arts pioneer of the 70s and 80s, who approached art from a philosophical rather than from a professional competence perspective. This enabled him to influence a whole generation of British artists like Anthony Gormley, Rachel Whiteread and Anish Kapoor who regarded him as their mentor, rather similar to how he in his turn looked upon Brancusi as his mentor.
Anish Kapoor wrote about Neagu in his necrology in The Guardian: “He was an influential teacher in that he had an international outlook, which was perhaps his main legacy to his students. His intellectual clarity was refreshing in an era when ‘making’ seemed to be more important than ‘thinking”.
His works can be found in public collections including, among others, the British Museum, London, le Fond départemental d'art contemporain, Bobigny, France, the Hugh Lane Municipal Gallery of Modern Art, Dublin, the Musee Cantonal de Beaux Arts, Lausanne, the National Museum of Art of Romania, Bucharest, the Philadelphia Art Museum, Philadelphia, Tate Gallery, London and various private collections worldwide, including The Netherlands.
The exhibition 'Nishiko: Repairing Earthquake Project' about the aftermath of the 2011 tsunami in Japan, is accompanied by the Stroom School program Rising Waters around the theme of sea level rise. This evening we have two lectures/presentations by Maarten Vanden Eynde (BE) and Tieme Haddeman (NL).
Maarten Vanden Eynde (BE) is an artist who focuses on in-depth research of the problems of globalisation.
"For more than a decade I study the current geological layer we will leave behind for future generations. The Anthropocene, a new geologic chronological term for the epoch that began when human activities started having a significant global impact on the Earth's ecosystems, is my main area of interest."
Tieme Haddeman (NL) is is the initiator and a member of Urban Green/Urban Deltas/Urban Wetlands, a cooperation that focuses on the problems of densely populated urban areas.
Heden presents works by Joncquil, Anatole de Benedictis and Yani Chuang. These three artists all work with existing objects as a starting point.
Finissage of the exhibition, with Canadian plastic shard give-away action by the artist Nishiko and a preview of the forthcoming book on the 'Repairing Earthquake Project'. Two earlier editions dedicated to the project are on sale in the Stroom bookshop.
After the earthquake and tsunami in 2011 in Japan, Nishiko went searching for remaining objects and collecting eyewitness accounts that enable us to experience the aftermath of the disaster first hand. The exhibition at Stroom presents the 'Repairing Earthquake Project' for the first time in its entirety.
Finissage with tea and cake, most welcome to join us! Almost every day the Dutch newspaper NRC was published in 2018, Dutch artist Mies Olthuis chose an article or a photo from the news. She simply selected what seemed interesting to her, and made a large painting or small drawing, an embroidery or object. You will see a selection of nearly 200 objects and paintings at the gallery.
Page Not Found invites two outstanding online publishing platforms, Cosmos Carl and oneacre.online, to present their current projects, discuss their leitmotiv, and address the rarefaction of public online spaces. Page Not Found is indeed very interested in the expanding boundaries of what constitutes an artist’s publication. The emergence of online platforms which periodically invite artists to publish a work accessible via Internet, is a case in point: the work often shows awareness of its precarious, non-autonomous, nature, as it relies on transient technologies and fleeting spaces. The work is published, but evolves, and eventually disappears. What remains is an intangibility to be celebrated.
“Cosmos Carl - Platform Parasite” is an online platform that hosts nothing but links provided by the artist. Be it encrypted, inside an archive, available through open source software, live-streamed, downloadable, in a webshop, on the dark web, or on streetview, the CC work, although on public display, is directly accessible through the hyperlinks displayed on the website. Cosmos Carl encourages artists to reclaim (commercial) online platforms to produce and display their art. This means that the work is displayed on a website that is neither designed nor hosted by the artist. The fact that the work is made on an existing online platform implies that visitors may stumble upon it, not necessarily viewing it as art. Cosmos Carl is run by Frederique Pisuisse and Saemundur Thor Helgason.
oneacre.online is an experimental publishing and distribution project that utilises an online platform to seed unprintable text-based works by emerging artists. The project explores the possibilities of hyper-publishing in a series of four commissioned publications. Thematically oneacre.online first four commissioned publications by all female art practitioners, place themselves in the online world of constant updates and refresh buttons that, as theorist Wendy Chun observes, “exist at the bleeding edge of obsolescence. We thus forever try to catch up, updating to remain the same”. The publications use the omnidirectional online terrain and actions that are native to it — such as refreshing, instantly available to edit, easily erasable, highlighting, copy-pasting and non linear navigation — to explore and critically evaluate visions and versions of power systems by tracing the politics of technological infrastructures. Hidden in places as traditional as archives, as often used as smart phone applications, omnipresent and inescapable as the financial market and as quiet and evasive as the transfer of information in narrative structures. oneacre.online is made by Stef Kors, Titus Knegtel, and Victoria Douka-Doukopoulou.
Opening of solo exhibition of OSSIP, an overview from the last 10 years.
Vernissage of the exhibition 'Tomb of the Ordinary Man' with Nare Eloyan, Jakup Ferri, Christie van der Haak, Elmar Trenkwalder and Zeger Reyers.
Most welcome to join us during the opening of Koos Flinterman his first solo show at twelve twelve.
Koos Flinterman makes portraits of sculptures. He portrays sculptures of ARP, Barbara Hepworth, Henry Moore and Picasso. He attempts to understand these works by viewing, selecting and then react.
His paintings become objects through his way of working. His works, like the sculptures he selects, often have an opening in the canvas. Koos hereby examines the absence of the form and makes it just as important as the presence. The viewer becomes aware of the volume of empty space, and the powerful resonance this can create. Also in the way he applies the paint on his canvasses, he gives the paintings a sculptural feel. The acrylic paint and modeling paste is also deliberately applied with templates, with the same precision as the sculptures get their shape.
For this background evening Madison Bycroft will compile an evening reflecting on her exhibition at 1646.
Madison Bycroft is working in performance, video and sculpture, Bycroft explores the idea of 'pathos' - the
activity and / or passivity of affect - in relation to the material process of subjectivation. If
the structures (back-drops, teasers, tormentors, and the fly system) frame what is seen as
"on-stage," then what performances and relationships are possible behind or below this state-
Bycroft is currently interested in slapstick, deadpan, and the excess and/or annihilation
of the performative subject-body, and how to work-with other “bodies” without capturing, defining or limiting it. Of particular interest is the politics, performance and orientation of humour, and the fool or scape goat, as the target of a joke.
Madison Bycroft, b. 1987, Adelaide/Kaurna Yarta, Australia, is an artist currently based between
Paris and Rotterdam. Bycroft is a graduate from the MFA program at the Piet Zwart
Institute in Rotterdam.
Event takes place between 1-3 of March
Page Not Found invites you during three consecutive events to discover publishing artists who share an interest in sexualized representations and renewing the discourse about them, and more generally in feminist agency in their production. During her event, AnnaMaria Pinaka will talk about her experiments with a methodology she calls porno-graphing. This involves the reappropriation of sexual and pornographic representations to propose alternative mappings of sexual intimacy. The discussion aims to address the binary position of art/porn, public/private and healthy/pathological by pointing to the excess of space that spans these positionings.
AnnaMaria Pinaka is a visual artist and researcher. In her work, she mainly focuses on the intimacies of domestic life while re-appropriating sexual or pornographic imagery through lens-based media, a method she conceptualizes in her written work as porno-graphing. She recently finished her PhD at the department of Theatre and Performance at Roehampton University, a project that took her almost eight years. Part of her practice-based research is now published as a zine by Onomatopee. The publication, that is titled Porno-graphing, carries the subtitle ‘What do dirty sexual subjectivities do to art?’ and it discusses different positions in the art/porn debate as well as the ways in which porno-graphing strategies can mediate between binary stances.
Page Not Found invites you during three consecutive events to discover publishing artists who share an interest in sexualized representations and renewing the discourse about them, and more generally in feminist agency in their production. Viktorija Rybakova's most recent work revolves around the human eroticism and the idea of the body as a sensitive fabric. At the occasion of this event, she will talk about her interest in the diversity, amplitude and instability of human sexuality.
Viktorija Rybakova (b. 1989, Vilnius) is an independent artist, architect and researcher from Lithuania. Her research practice combines the academic and artistic fields, with her main focus being the human body and history. Rybakova is currently working on research in the field of neuroscience, the history of eroticism and decoding the languages we speak through a thorough exploration of the body tissues. After concluding a fellowship at Jan Van Eyck Academie in 2017, she moved to Brussels, where she runs Studio Laumes: an art, design and research atelier, together with Goda Budvytyte. Viktorija’s unique handmade publications have been exhibited a.o on the 55th Venice Biennial. She is the winner of the Tallinn Print Triennial 2016.
Page Not Found invites you during three consecutive events to discover publishing artists who share an interest in sexualized representations and renewing the discourse about them, and more generally in feminist agency in their production. During her event, at the occasion of Hoogtij, Zoe Williams chose to screen "Ceremony of the Void", a film documenting one of her performances.
The politics of sex is central Zoe Williams’ practice. Her works touch on ideas of seduction, sensuality and transgression. Williams is interested in building a subtly irreverent dialogue and tension between such polarities as the animate and the inanimate, the seductive and the repulsive, as well as examining contemporary attitudes towards notions of taste, sexuality and beauty. Zoe Williams recently published ‘The Unruly Glove, The Green Bum and The Sickly Trickle’, designed by Rory Gleeson, which incorporates William’s drawings and is accompanied by the poetry of the artist and writer Susan Finlay. Susan Finlay works across various media including painting, fashion-textiles and text. Her novel,’Our Lady of Everything’, will be published by Serpent's Tail in Spring 2019.
Zoe Williams (b.1983). lives and works in London and is represented by Galerie Antoine Levi, Paris. Recent solo exhibitions include: The Unruly Glove, The Green Bum and The Sickly Trickle, Galerie Antoine Levi, Paris; Morsa, Studio Amaro, Naples, Pel, Galerie Antoine Levi; Copenhagen; Soft Paste, The Studio Warehouse Gallery, Glasgow; The Flight of O, Spike Island, Bristol. Significant group projects include (X) A Fantasy, group exhibition and performance commission, DRAF, London; Spring/Summer 2015, DCA, Dundee; The Chic and The Borderline, cur. by David Roberts Art Foundation, part of Art International Istanbul; Watch yourself, cur. by David Dale Gallery with Video Art Network Lagos and UK:NG Festival, Rele, Lagos; Mood is Made /Temperature Is Taken, GSS, Glasgow; 'Chateaux Double Wide', collaborative project, Glasgow International Festival 2016; H Y P E R C O N N E C T E D, MMOMA, part of 5th Moscow International Biennale of Young Artists. Forthcoming projects include The Armoury Show 2019, New York, A group exhibition at Greengrassi, London and a solo exhibition at Mimosa House, London in May 2019.
Arna Mačkić in gesprek met Sun Ra
Page Not Found is delighted to invite you to a reading of "Communism for Kids" by its author, Bini Adamczak.
This book presents political theory in the simple terms of a children's story, offering relief for many who have been numbed by Marxist exegesis and given headaches by the earnest pompousness of socialist politics. It proposes a different kind of communism, one that is true to its ideals and free from authoritarianism. Adamczak illustrated herself the story, showing lovable little revolutionaries experiencing their political awakening. In an epilogue, the text leaves the genre of children's literature, to provide theoretical justification about the various forms of anti-capitalist critique. In March 2017, the volume was published in English by the MIT Press, which led to vehement protests from the US alt-right and conservative circles who saw the book as an attempt to corrupt America's youth. Among others, the LA Review of Books praised the opus.
Bini Adamczak (Berlin, 1979) is a Berlin-based social theorist and artist. She writes on political theory, queer politics, and the past future of revolutions. She is a member of the Jour Fixe initiative berlin. She published "Past Future: On the Loneliness of Communist Specters and the Reconstruction of Tomorrow", a performative and political work of mourning, and two books, not translated in English, at the occasion of the hundredth anniversary of the Russian Revolution. She coined an antonym of "penetration": circlusion, conjuring a speculative shift in the framing of sexual power and politics, by assuming agency around the acts of enclosing, encircling, engulfing.