For its last event before the summer break, Page Not Found is delighted to invite Hamja Ahsan, in collaboration with PrintRoom in Rotterdam. Hamja will present his publication "SHY RADICALS: THE ANTISYSTEMIC POLITICS OF THE MILITANT INTROVERT", heralded as a subversively funny hymn to introversion.
Drawing together communiqués, covert interviews, oral and underground history of introvert struggles (Introfada), the book is a detailed documentation of the political demands of shy people. Radicalised against the imperial domination of globalised PR projectionism, extrovert poise and loudness, the Shy Radicals and their guerrilla wing the Shy Underground are a vanguard movement intent on trans-rupting consensus extrovert-supremacist politics and assertiveness culture of the twenty first century. Shy Radicals are the Black Panther Party of the introvert class, and this anti-systemic manifesto is a quiet and thoughtful polemic, a satire that uses anti-colonial theory to build a critique of dominant culture and the rising tide of Islamophobia.
Hamja Ahsan is an artist, writer, activist and curator based in London. He was recently awarded the Grand Prize at the Ljubljana biennial 2019 for his current exhibition Aspergistan Referendum based on this book. He was shortlisted for the Liberty human rights award for campaigns on extradition and detention without trial under the War on Terror utilising art and film. His recent writing was anthologised in No Colour Bar: Black Art in Action 1960-1990. He has presented art projects at PS1 MOMA at New York Art book fair, Tate Modern, Gwangju Biennale, Staedelschule in Frankfurt, Shaanakht festival Pakistan and Shilpa Academy, Bangladesh. His practice encompasses all media: conceptual writing, building archives, performance, video, sound and making zines He is founder and co-curator of the DIY Cultures festival of creative activism, zines and independent publishing since 2013.
On Thursday 29 August we bring a toast to the newest addition to The Sculpture Gallery: 'De dematerialisatie van de vijf geboden in de vijf zintuigen' (The dematerialization of the five commandments in the five senses) by Tirzo Martha (Curaçao, 1965). This year, Tirzo Martha has been chosen unanimously as the winner of the 11th Wilhelminaring - the oeuvre prize for Dutch sculpture.
15.30 hrs: Walk in
16.00 hrs: Program, live interview with Tirzo Martha
16.45 hrs: Colorful parade through the city center
17.00 hrs: Unveiling of sculpture
More information on www.stroom.nl.
Opening of the exhibition of Cedric ter Bals and Philip Akkerman. Cedric ter Bals's 'Tagebuch Oskar von Balz' will be presented that afternoon.
Everything is possible in the paintings of Bas Wiegmink (1977). Nature gets the power to evolve. Vegetation undergoes genetic changes. The sky reflects in fantastic colours, the earth radiates. Human traces testify to a certain 'civilization'. The message could be: 'do not be afraid of the future, because we will survive'
Nevertheless, nature always seems to survive unstirred. This survival force, including that of man himself, inspires Wiegmink. To him, painting is the way in which he can best express himself, his dream in an act. Without any hint of melancholy in the work, everything seems so obvious. Here his admiration for architecture coincides with that for the forces of nature.
Rozevingerige data is the artist’s first extensive exhibition since 2004’s Exquisite Enclave Exquise at Museum de Paviljoens in Almere. The project ushers in a new phase in his work. With the aid of an iPad and iPhone and his resumption of the use of a studio in 2016, his digital and analogue image production have converged. Through combining a screen that responds to the slightest of touches with the unforgiving material properties of graphite, ink, paint, paper and canvas, Kleerebezem explores new expressive pathways.
Using a touchscreen as an interface for software that converts pen strokes into digital code and enables their manipulation has permitted Kleerebezem to rediscover the fundamental expressive power of line, field and colour. The frictionless digital liberation of his artistic hand has unleashed an unrestrained lyricism and a hybrid use of media in his recent work, which mixes digital and analogue methods. The artist will work in the exhibition space this summer, producing new drawings, paintings, photography and graphic work. On Instagram and the project website, he will reflect on the process of creation and on the context of the media he uses.
The digital format also affords new channels for distribution and reception of the work, e.g., on Instagram and in the artist’s own online publications. Between 1998 and 2005, Kleerebezem published everything he produced, without exception, in “Notes, Quotes, Provocations and Other Fair Use”, one of the first Dutch blogs. In the recent work, analogue and digital processes engage each other. The poetic title Rozevingerige data alludes to Homer’s “rosy-fingered dawn” and celebrates brave new realities and worlds, artistic ones in particular. While data and algorithms call forth spectres, especially with regard to the use of big data, in many cultural and social environments – and certainly in artistic practice – they also inspire new imagery with a structure and eloquence all its own.
Kleerebezem’s images draw freely on both direct and highly mediated experiences of reality. The ways in which we observe, register, measure and represent the world, in media that are increasingly computerised, determine how we see it and ourselves. In Jouke Kleerebezem’s work, perception continually disintegrates, to be recombined through improvisation, in not necessarily reliable, always temporary wholes.
After D.D. Trans (pseudonym Frank Tuytschaever 1963) made his debut in the Netherlands during Art Rotterdam, he now makes his first solo exhibition at Galerie Ramakers. From 8 September till 6 October, the Belgian visual artist will present an overview of his transformation from everyday objects into light-hearted artworks. The subtle changes that D.D. Trans applies evoke suggestions that stem from the Belgian tradition of surrealism, accompanied by humor and poetry.
After a 10-year break from the art circuit, D.D trans has been displaying old and new work together in his exhibitions since 2014, without hierarchy or distinction. His minimalist work is often called poetic, although there is always a dark side to it. According to him, the dark side has grown in recent years, although the viewer will not immediately notice it if you look at his latest works. Because it now looks much fresher than before and plastic material is often used as a kind of clay that you can work and melt. Coincidentally, today there is aversion to the use of plastic, a material that is carelessly thrown away. "If that is no longer available, my work reminds me of a certain period that it was still available".