MARCH 2010 - news update - MARCH 2010 - news update - MARCH 2010
FOAM and VIRTUEEL MUSEUM ZUIDAS present MICHAEL WOLF's PARIS STREET VIEW
MICHAEL WOLF - PARIS STREET VIEW
12 March 2010 until 10 April 2010, ZUIDAS, Amsterdam
Foam Fotografiemuseum Amsterdam, Communication Agency Vandejong and Virtueel Museum Zuidas present a special outdoor exhibition at the Zuidas Amsterdam by the internationally renowned photographer MICHAEL WOLF. The exhibition consists of 24 extremely large-format works. Paris Street View is showing at the Zuidas at Zuidplein, Gustav Mahlerplein and Claude Debussylaan, as well as on CASZUIDAS urban screen.
CASZUIDAS COMMISSIONED WORKS part of LED EXHIBITION at BKKC TILBURG
An exhibition about cultural and artistic use of LED technology in public space
BKKC Tilburg, 12 March - 22 April 2010
Opening hours: Tuesday - Sunday from 13.00 - 17.00 hrs.
SHINJI OTANI's PARABOLIC DUTIES on CASZUIDAS
Tentoonstelling in de Kapel, Prinses Irenestraat 10, Zuidas Amsterdam:
Tentoonstelling t/m 11 april 2010. Open donderdag t/m zondag van 14.00 tot 20.00 uur. www.virtueel-museum.nl
Nog altijd streeft de huidige stedenbouw naar een perfecte, nieuwe wereld, zo ook in de Zuidas. Maar bestaat die eigenlijk wel en is zo’n wereld ook leefbaar? Welke ruimte is er voor toeval en voor het individu?
Vijf ambitieuze, in het stedelijk landschap geïnteresseerde beeldend kunstenaars – kunstenaar en architect Lieven de Boeck (B), kunstenaar en ontwerper Frank Havermans (Nl), performance- en installatiekunstenaar Sachi Miyachi (Jp), fotograaf Shinji Otani (Jp) en componist en interdisciplinair kunstenaar Tom Tlalim (Il/Nl) – hebben zich vanuit de Vrije Ruimten Zuidas Artists In Residence in het voormalig Sint Nicolaasklooster de afgelopen vijf maanden ter plekke beziggehouden met de ontwikkelingen en ambities van de Zuidas. Vanaf 12 februari tot en met 12 maart presenteren zij de uitkomsten van hun werkperiode in de gezamenlijke tentoonstelling Vrije Ruimten Zuidas A.I.R. 2010.
Bij de tentoonstelling verschijnt een publicatie over het project (Onomatopee publishers), met een bijdrage van planoloog Stan Majoor, die in 2008 promoveerde tot doctor op drie grootschalige, stedelijke ontwikkelingsprojecten - Zuidas Amsterdam, Ørestad in Kopenhagen en Forum in Barcelona - en hun streven naar een ‘nieuwe stedelijkheid’.
Kunstenaars hebben noch de macht noch het geld om directe verandering tot stand te brengen, maar kunnen wel hun persoonlijke kijk bieden en op inspirerende, betrokken wijze laten zien hoe het ook anders kan. In deze vierde editie van de Vrije Ruimten Zuidas A.I.R. houden zij dan ook een hartstochtelijk pleidooi voor toeval en vergissing, voor bochten en kronkels, voor verrassingen en aanhechtingen in het stedenbouwkundig patroon, voor een stad als groeiend organisme en voor bezieling met humor en verhalen.
De Vrije Ruimten Zuidas A.I.R. is een project en denktank in het voormalig Sint Nicolaasklooster, waarbij kunstenaars onafhankelijk en in alle vrijheid onderzoek doen, meedenken, vragen stellen en hun persoonlijke visie geven op de ontwikkelingen en ambities van de Zuidas. Als enige in zijn soort legt deze Artists In Residency een expliciete relatie tussen de beeldende kunst, de stedenbouw en het publieke domein.
Voor meer informatie: Meinke Horn, VRZ-AIR concept en realisatie, Virtueel Museum Zuidas
email@example.com - www.virtueel-museum.nl
CASZUIDAS COMMISSIONED WORKS | Festival Competition on-line in streaming video
Tape is made from trees, Poly-Xelor Kalverstraat, Sema Bekirovic
Dutch artists Sema Bekirovic and Roel Wouters & Luna Maurer (aka Poly-Xelor), and British artist duo John Wood & Paul Harrison have been invited to make a special production for CASZ. The three works premiered during the Urban Screen Festival last September, and are now showing regularly in the daily program of CASZ on the Zuidplein, Zuidas.
The Competition Program is still visible on-line on the dedicated festival website: look here for the stream.
+ JUNE 2008 + + HOLLAND FESTIVAL + + JUNE 2008 + + HOLLAND FESTIVAL +
From June 1 - June 22, CASZ will present a contextual program to HOLLAND FESTIVAL 2008, taking place at Westergasfabriek and other venues in Amsterdam.
Belgian visual artist Hans Op de Beeck will be showing an in-depth view on his work with a selection of nine video works showing on CASZ, in a changing program scheduled daily from 11.00 - 12.00 hrs, 15.00 -16.00 hrs. and 19.00 - 20.00 hrs. This program offers a context to the new work he will be presenting at the Gashouder on the Westergasfabriekterrein, where Location (6) will be on show until June 21st.
Hans Op de Beeck, Location (6) (2008)
Also on CASZ, registrations and interpretations of acclaimed performances from past Holland Festival editions will be presented: in a daily alternating schedule, Sacha Waltz with Dido & Aeneas, Anna Caterina Antonacci with Era la Notte and the wonderful closing concert of HF 2007 with Edita Gruberova wil be shown at 20.00 hrs. - sound through the toll-free telephone line 020 262 9492
Look here for the specific program schedule and details.
+ MAY 2008 + + TEMPORARY MUSEUM AMSTERDAM + + MAY 2008 +
TEMPORARY MUSEUM AMSTERDAM - URBAN SYMBIOSIS OF CONTEMPORARY ART
You are cordially invited for the (Con)Temporary Museum Amsterdam. This imaginary museum creates a parallel program to that of Art Amsterdam. The editions in 2006 and 2007 proved a success and again this year the floor plan of the Museum is the entire city. The halls are made up by prominent Amsterdam-based art institutes, like de Appel Arts Centre, Foam, Kunstvlaai A.P.I., SMART Project Space, Stedelijk Museum CS and W139. Art Amsterdam is where the pulse beats.
CASZUIDAS is part of the Temporary Museum Amsterdam - Street Strategy route art in public space. From May 7 - 12 CASZ is presenting a special program in collaboration with SMART PROJECT SPACE and IMPAKT Festival - more information under NEWS.
Visitors are provided with a free passe-partout, a go-as-youplease ticket that gives access to all ‘halls’ of the (Con)Temporary Museum Amsterdam. Each individual institute has realized an extra programme by artists also represented by Art Amsterdam galleries of ephemeral installations, guided tours and video programmes. All exhibitions, lectures, presentations and meetings are presented within inspiring routes. From gallery-route to solo-route, from openings to cafés.
The (Con)Temporary Museum Amsterdam is the perfect opportunity to experience the city as a space for contemporary art, to reflect on the need and vulnerability of these cultural presentations and to celebrate art. Day and night, inside and outside, high and low; with each moment new encounters.
+ MARCH 2008 + + HOLLAND DOC PRIVACY PROJECT + + MARCH 2008 +
HOLLAND DOC - PRIVACY PROJECT
from March 22 through 30, CASZUIDAS showed a selection of video- and photoworks that were submitted for the Privacy Project, initiated by the digital channel Holland Doc. Students from art academies in Amsterdam, Arnhem, The Hague, Zwolle, Groningen, Breda, Den Bosch and Utrecht show their personal visions on privacy in their surroundings. See an overview of the selected films and information on the works as well as the makers here
+ + PETER BOGERS INSTALLATION WORKS + + MARCH/APRIL 2008 + +
Renowned visual artist Peter Bogers (Amsterdam) has carried out some tests with a number of his works a few weeks ago on CASZ, to see if and how a selection of his multi channel installation works can result in versions that are suitable for presentation on CASZUIDAS. In the upcoming weeks he will be further working on these conversions and modifications, bring his intense images to the public life of the Zuidplein at Zuidas, Amsterdam.
The process of changing his room-filling multi channel installations, normally presented in the typical white cube spaces of international galleries and musea, into 1-channel versions that will intervene in public space, will be documented and published on the CASZ-website around the end of Spring. The first works that are up for a possible remodelling are: 'Apart', 'Brainfield', 'Nóóó, You Don't Understand', 'Linking' and 'Play-Rev-Play' - the final versions will be on show from May/June onwards.
+ + LIVING THE CITY + + OCTOBER/NOVEMBER 2007 + + LIVING THE CITY + +
LIVING THE CITY
Shaun Gladwell (AU) + + + Carey Young (GB) + + + Dagmar Keller & Martin Wittwer (DE/CH) + + + Jeroen Jongeleen (NL) + + + Katja Mater (NL) + + + Mike Stubbs (GB) + + + Anna van Asbeck & Kostas Koutsospyros (NL/GR)
LIVING THE CITY is presented by the Virtual Museum Zuidas at Platform 21, Amsterdam
Guest curator: Jan Schuijren - Text: Angela Plohman
Exhibition from 14 October – 11 November 2007, Wednesday through Sunday, 12.00 - 19.00
The video sculpture Een Nieuwe Wereld: Living the City by Anna van Asbeck & Kostas Koutsospyros will be performed live every Friday and Sunday at 16:00-17:00
LIVING THE CITY weaves together a multitude of perspectives on our increasingly distanced relationships with the city and our co-inhabitants. Embedded in Zuidas, a ‘city in development’ itself, the exhibition not only confronts us with the compromised relations we have with our contemporary urban environments, but also presents pathways beyond detachment, proposing an alternative and celebratory reclaiming of the spaces and situations from which there is a tendency to disconnect. This reclamation of the city offers possibilities for affective encounters rather than isolation from the complex layers of our urban environment, and implores an acknowledgement of the “mutually defining” (1) relationship we have with our urban surroundings. This interplay between how we affect and how we are affected is central to Living the City, with the works each uniquely exploring the potential in recognising that the structures and contents of our cities are more than simply blurry dots in our peripheral vision.
(…) as if a boundless “universe of non-recognition” is what increasingly holds
the modern urban commons together as a shared structure of feeling. (2)
In the19th century, mass migration to the city from rural areas was seen as a step towards more personal independence and authenticity, offering the possibility to construct a new version of our public self, full of potential with which to navigate through this new context. (3) However now (and notably remarked upon already in 1903 in a seminal essay by sociologist Georg Simmel titled The Metropolis and Mental Life), the role of the public self is so focused on self-protection from the over-populated and stimulus-saturated streets, that we have moved from independence to alienation, withdrawal, and even fear induced by communal public life. As noted by Kathryn Milun in her exceptional book on urban anxiety, Walter Benjamin claimed that “it was in a mode of distraction (…) that an urbanite came to know his surrounding”. The question then of what we actually see as abstracted human beings in our urban environment becomes a point of contention, with what we deny becoming more revelatory than what we allow in.
Dagmar Keller and Martin Wittwer’s what you want to see is both a question and a statement that beautifully highlights this dislocation. Presenting a desolate view of the city at dusk, the piece grants us access to an intimate auditory exchange between two individuals who we assume lie apart in two of the squares of light that languidly drift by on the screen. We are privy to a conversation, limited by language and a bad ‘connection’, in which two people both need something from the other and seemingly deliver without actually connecting at all. The piece exemplifies the struggle we face in relation to the sense of alienation we are cultivating; the parasitic relationship they have with each other thrives on the position they take of not really having to know the other beyond the surface of how they affect their individual narratives.
At another, less subtle extreme, Mike Stubbs’ Cultural Quarter illustrates how powerfully we have fortified our public mechanisms of defense and denial even in relation to the contexts closest to our personal space. Stubbs voyeuristically documents and comments on a mind-boggling portrayal of community in a random UK neighbourhood where the action centres around a moment of ‘child’s play’. As the adult contingent looks on (beer, cigarettes and food in hand), the gathering of local youth proceeds to dismember a car for pleasure. What incredulously seems to be an entertaining spectacle for those directly involved, we, as objective onlookers, are horrified with the state of what they (we) have become. Stubbs’ revealing piece carries the risk of engagement with what we fundamentally strive to deny, drawing uncomfortable parallels between the state of affairs in this locality and our own everyday behaviour.
City planners have generally solved the fear of otherness through segregation and by making efficient, high-speed traffic flow one of the highest priorities of the supposedly neutral,
rational approach to city planning. (4)
Lines Made By Walking by Carey Young, a projected 35-mm slide work, features the artist repeatedly covering an ordinary trajectory of everyday life. Surrounded by a disconnected mass of fellow commuters, Young’s rhythmic journey of focused concentration on one human being’s place in the urban landscape, leaves a marked visual imprint in the crowd as the piece progresses. The sound and moderate 1 second interval of the slide projector give the impression of movement although the invariable and repetitive context of her actions highlight the stagnant stage on which she leaves her trace. Do others see her? Do they care? Does she? The artist’s personal mandate to mark out her own path in the pack both reinforces and defies the sense of detachment of the individual from public space as she unapologetically, and almost joyously, acts out her own scene of private reclamation.
Shaun Gladwell’s spatial performances exemplify the potential in taking back and re-inhabiting the empty transit zones of urban space. Both Tangara and Woolloomooloo Night, as well as much of Gladwell’s oeuvre, are interventions in particular urban locations that are devoid of activity when not being occupied for very specific, time-limited purposes. In Tangara, the artist uses the generally overlooked architecture of an empty train carriage as his support for a physically demanding performance. In Woolloomooloo Night, a desolate petrol station is inhabited by a capoiera dancer and a curious group of seagulls. Both of these locations are transformed by these acts of physical theatre and illustrate the potential inherent in all of us to rethink and affect our surroundings. Rather than urban rebels to be hauled away by the Cleanaway truck (a very fitting coincidental symbol in Woolloomooloo Night), Gladwell’s performers boldly assume a presence that equally threatens and liberates the public self we protectively shield from difference and disruption in urban communal space.
Space does not become comprehensible to the subject by its being the space of movement;
rather, it becomes space through movement, and as such, it acquires specific properties from the subject’s constitutive functioning in it. (5)
Katja Mater’s Build series is her own personal photographic and physical reconstruction of Zuidas. Unable to reconcile with the elements when setting off to photograph this new urban terrain in particularly harsh Dutch weather, Mater took Zuidas home with her, making its future tangible landscape into a reflection on representation and becoming. Symbolising perhaps what was and anticipating what is to come, Mater recreated Zuidas out of paperback books, the final photographic results of which appear in a series of light boxes. The artistic act of personally and physically building the untouchable vast symbols of modern urban development illuminates a certain desire to claim a piece of the city for ourselves, reflecting on the fast-paced developments in the present and our relationships with them in the future.
Een Nieuwe Wereld (A New World) – Living the City, the work of artists Anna van Asbeck and Kostas Koutsospyros, embodies the interplay between our detached relationship with the architecture and ‘contents’ of the city and our desire for an engaged connection with our spaces of inhabitation. Exploring new ways to relate to the materials of everyday life (garbage, metal, machine parts, sand, water and other urban debris), the artists create an abstract landscape that they perform and transmit to the audience with the help of a small finger camera. What we see is the live sensual creation of the artists filtered through the sensitive eye of the lens, transforming the banal and messy afterthoughts of our urban lives into an aesthetically stunning and empty topography for us to navigate with our eyes. Allowing breathing room for solitude and reflection in the screen for the viewer, as well as the visceral experience of their canvas during their performances, van Asbeck and Koutsospyros create a moment of exchange in which we (and they) can choreograph a uniquely personal version of space and time.
Inciting this space for reflection means disrupting the flow of the everyday. Jeroen Jongeleen’s Influenza/A Little Movement subtly provokes and exploits this moment of interference, slowing our mental traffic and focusing distraction. His viral action of tagging cities with stickers symbolising movement through over 2500 representations of the human hand, is a simple act that meaningfully affects the urban environment on a personal but also shared ground. Disrupting our movements to focus on a visual representation of movement itself, Jongeleen’s stickers leave an urban trail that implores dialogue. As we amble through the city, in this case Zuidas, our narratives in motion are followed by a light human touch that seems to infect and affect our daily goings on. These “small gestures” (6) connect us with the urban contexts upon which the stickers are placed, transforming the overlooked into the visible.
The deepest problems of modern life derive from the claim of the individual to preserve the autonomy and individuality of his existence in the face of overwhelming social forces, of historical heritage, of external culture, and of the technique of life. (7)
As our cities increasingly promote the use of space for transit rather than engagement, the feeling of detachment that dominates our public behaviour intensifies. This state of being has multiple consequences for the individual and society, underscored by an aggressive need to keep our fragile personal narratives intact and to reduce disruption by following the rules that govern public space. However, these meaningful disruptions, as seen in the personal instances proposed by the artists in the exhibition, are where the potential lies. They provoke an abrupt break in the fluidity of our obsessive forward motion and offer threads of connection to that which we use as our living backdrop. For these connections to prosper, the capacity and impact we have as active participants in our urban environment cannot be underestimated. As we become more comfortable in recognising and experimenting with this transformative role, the engagement we foster with the city will extend beyond the surface of the functional and move determinedly towards the meaningful.(1) See Elizabeth Grosz, Space, Time and Perversion (New York and London: Routledge, 1995): 108
(2) Kathryn Milun, Pathologies of Modern Space (New York and London: Routledge, 2007): xi-xii
(3) See Kathryn Milun’s discussion of Georg Simmel’s essay (Milun 253-254)
(4) Ibid 254
(5) Grosz 92
(6) See Mika Hannula “The Blind Leading the Naked – The Politics of Small Gestures” in Art, City and Politics in an Expanding World. Writings from the 9th International Istanbul Biennial (Istanbul:
Istanbul Foundation for Culture and Arts, 2005): 184-194
(7) Georg Simmel, “The Metropolis & Mental Life”, adapted by D. Weinstein from Kurt Wolff (Trans.)
The Sociology of Georg Simmel (New York: Free Press, 1950): 409-424
Download the PDF version of the exhibition text in english: LIVING THE CITY