The Female Perspective

Highlights of The Female Perspective Programme 2017/2018

‘The Female Perspective is not so much about the question of what the female perspective is, but rather about what we can learn when we listen to women’s stories.’

Castrum Peregrini proudly presents the one-off magazine The Female Perspective. The magazine is published on the occasion of The Female Perspective programme 2017/2018, curated by Nina Folkersma, as part of the cultural activities programme Memory Machine by Castrum Peregrini. The magazine is edited in collaboration with Mister Motley.

The focal point of The Female Perspective programme was Castum Peregrini’s founder Gisèle van Waterschoot van der Gracht, as patron, artist and woman. Gisèle’s story continues to be a source of inspiration for artists, writers and intellectuals today. In 2017/2018, the cultural activities of Castrum Peregrini zoomed in on the ‘womanhood’ of Gisèle and her role and position as a woman in a group of male friends, in relation to currents issues around female identity, feminism and gender. What was, and what is, the significance of women in resistance movements? What can we learn from feminist theory when thinking about cultural diversity and inclusiveness? How can we bend the existing frameworks of female identity and gender?

The Female Perspective consisted of a series of exhibitions, performances, artist talks and lectures. Participating artists and contributors included Mieke Bal, Alexis Blake, Katerina Gregos, Lynn Hershman Leeson, Annet Mooij, Wendelien van Oldenborgh, Renée Turner and many more.

Magazine

The magazine contains material that reflects The Female Perspective’s activities over the year 2017 and 2018. There are contributions from almost exclusively female artists, thinkers, writers and academics. These contributions include, amongst others, essays by Adeola Enigbokan, Marjan Schwegman and Christel Vesters; interviews with Mieke Bal and Katerina Gregos; and artists contributions by Patricia Kaersenhout, Ronit Porat and Pieter Paul Pothoven.

The magazine also contains an exhibition guide to Some Things Hidden, an exhibition in two parts that took place in Castrum Peregrini from 18 to 26 November 2017 and has its second chapter in Framer Framed from 19 January to 11 March 2018. The Some Things Hidden part of the magazine is focused on the exhibition concept and the participating artists, with texts based on interviews by Lietje Bauwens. The artists in Some Things Hidden are: Hélène Amouzou, Alexis Blake, Sara Blokland, Lynn Hershman Leeson, Zhana Ivanova, Bertien van Manen, Charlott Markus, Shana Moulton, Femmy Otten, Marijn Ottenhof, Cauleen Smith and Batia Suter.

The magazine is available from 18th January 2018 at Castrum Peregrini and at Framer Framed during the exhibition Some Things Hidden.

15 – 17 December Women + Craft + Poetry

Artists Weekend: Women + Craft + Poetry

Fri 15 Dec – Sun 17 Dec 2017

You are cordially invited to our second Artists Weekend: a weekend full of artist talks, presentations, conversations and poetry readings, from Friday December 15 till Sunday December 17 in Castrum Peregrini. The Artists Weekend is part of our 2017 year programme The Female Perspective, curated by Nina Folkersma. This programme focuses on issues around female identity, feminism and gender, both in relation to the historical context of Castrum Peregrini and its founder Gisèle, and to current events.

The 2nd Artist Weekend is devoted to Women + Craft + Poetry. Guests of honor are two of our artists-in-residence, Aimée Zito Lema and Renée Turner. At their invitation, and in dialogue with curator Nina Folkersma, various artists, curators, writers, weavers and poets are invited to present their work and ideas.

PROGRAMME + PARTICIPANTS

Friday, Dec 15   20:00 – 22:00

Introduction Nina Folkersma

Lecture Christel Vesters – Some notes on women, labour and textile craft

Triggered by two unrelated news items about textiles, writer and curator Christel Vesters embarks on an expedition, looking for a common thread that may connect the two. Her explorations touch upon particular events and ideas in the history of textile production, utopian socialism, the Arts & Crafts Movement and the women’s movement, juxtaposing some key moments in those histories with examples from contemporary artist practices.

 

Saturday, Dec 16     14:00 – 18:00

Conversations + presentations

Renée Turner, Joke Haverkorn van Rijsewijk and Kate Briggs 

Narrative and weaving are often associated with each other through the metaphors we use. Join us for a day of presentations and discussions that look at weaving as a hands-on craft and its relation to the act of writing. Renée Turner will talk about her research project The Warp and Weft of Memory and have a conversation with Joke Haverkorn van Rijsewijk about her work at the weaving studio De Uil (The Owl), where she made monumental tapestries for Gisèle and other artists. On view will be some of the images from De Uil and a few of the woven artefacts from Gisèle’s collection. Kate Briggs, author of the recently published book This Little Art, will be drawing analogies between weaving and the processes of writing, translating and storytelling.

Drinks + Fingerfood by Mina Abouzahra

Entrance fee: 5 euro (incl. drinks & snacks)

Make sure you have a seat reserved and RSVP: productie@castrumperegrini.nl

 

Sunday, Dec 17    14:00- 18:00

Readings + conversations

Aimée Zito Lema, Becket Mingwen, Iva Supic Jankovic and School der Poëzie

Aimée Zito Lema

Aimée Zito Lema

This afternoon Aimée Zito Lema will introduce her residency project and research on friendship as a form of resistance. Thinking of the house (of Gisèle) as the most intimate and private kind of archive, connected to daily life experiences, she will read one of the transcripts of her conversations on friendship. The afternoon will continue with a presentation and poetry reading by visual artist Becket Mingwen. Becket’s text responds to politics and friendship as mirrors of each other – the same pitfalls and promises reflected between the interpersonal and the public. For the presentation at Castrum Peregrini, he will engage these ideas with Zito Lema’s project by discussing the role of friendship in the making of art, allies, and enemies, while exploring many of the ambiguities between them. Iva Supic Jankovic will present a musical performance called House on the Water. Music is a very intimate part of Jankovic’s work- sharing such work within this specific context allows a certain degree of vulnerability and intimacy that is hard to find in a regular art space context. The afternoon will end with poetry readings by teenage students from the School of Poetry, presenting the outcomes of their workshop organized by Zito Lema in collaboration with Dasja Koot.

 

Drinks + Fingerfood by Mina Abouzahra

Entrance fee: 5 euro (incl. drinks & snacks)

Make sure you have a seat reserved and RSVP: productie@castrumperegrini.nl

 

PARTICIPANTS

Mina Abouzahra studied at the Wood and Furniture School in Amsterdam. She has a passion for wood, textiles, copper and marble. A red thread in her life is the combination of different cultures. With the same attitude, Mina was active in the world of food; she wrote recipes, developed food concepts, organized pop-up restaurants and produced with Merijn Tol (Arabia) the cookbook Proef! Orange blossom, the new Moroccan cuisine. The designs of Abouzahra are surprising and colorful, and inspired by a continuous search for new combinations of materials, shapes and production methods. Mina Abouzahra travels every few months to Morocco for inspiration and to search for old, rare and beautiful things she can import, both for her shop and for clients directly.

Kate Briggs is the translator of two volumes of Roland Barthes’s lecture and seminar notes at the Collège de France: The Preparation of the Novel and How to Live Together, both published by Columbia University Press. This Little Art, a long narrative essay on the practice of translation, was published by Fitzcarraldo Editions in September 2017. She teaches on the MFA in Fine Art at the Piet Zwart Institute Rotterdam.

Joke Haverkorn van Rijsewijk is a weaver and writer. With Nenne Koch in 1956, she founded the weaving studio De Uil in Amsterdam. Their first commission was for a tapestry by Gisèle van Waterschoot van der Gracht for the SS Statendam, and later four more tapestries for the clubroom of the S.S. Rotterdam. Haverkorn van Rijsewijk has recently written an essay, ‘Living and Love in Image’ (Leven en liefde verbeeld), reflecting on a tapestry she made based on an image by the German Expressionist August Macke.

Becket Mingwen received his MFA from the University of Southern California in 2014, and was recently a resident at the Rijksakademie van Beeldende Kunsten in Amsterdam, NL. Recent exhibitions include  “n <o> <o> n” at One Gee in Fog, Geneva; “From Concrete to Liquid to Spoken Words to the World” at Centre d’Art Contemporain Genève. His book on Chris Kraus’ 1996 “Chance Event” is forthcoming from Athénée Press.

School der Poëzie, School of Poetry, offers lessons to children and young people to get them acquainted with poetry, writing and performing their own poems. Tailor-made programs and lessons for schools and institutions. The ‘School der Poëzie’ derives its name from the collection of poet Herman Gorter (1897) and a famous poem by Lucebert (1952). http://www.schoolderpoezie.nl

Iva Supic Jankovic, visual artist (born in Croatia), studied at the Gerrit Rietveld Academie and received a Master degree in Artistic Research from the Royal Academy, The Hague. She produces long term collaborative and trans-diciplinary projects that challenge an question the borders of visual art. More info: http://www.zoldermuseum.com/wordpress/

Renée Turner is an artist, writer and Research Lecturer at the Willem de Kooning Academy. Currently as an artist in residence at Castrum Peregrini, Turner is working on a two-year research project ‘The Warp and Weft of Memory’. Funded by the Mondriaan Funds, her research will result in public lectures, an exhibition and an online narrative, which combines images from Castrum Peregrini’s archive, artefacts from Gisèle’s closet and Turner’s own reflections on memory and objects of heritage.

Christel Vesters studied Art History and Curating in Amsterdam, New York and London. She is a writer and curator, and currently works on a two-year research project Touch/Trace – researching histories through textiles, which unravels the intricate connections between textile, history and society from a contemporary art perspective.

Aimée Zito Lema, visual artist (born in Amsterdam, 1982, grew up in Buenos Aires) studied at the University of the Arts, Buenos Aires, the Gerrit Rietveld Academy, Amsterdam, and was a resident at the Rijksakademie Amsterdam in 2015-2016. Currently an artist in residence at Castrum Peregrini, she is working on a research project about friendship as a form of resistance.

 

Art As Resistance, afl 2 Taking the oil out of the arts

Art As Resistance, #2

Taking the oil out of the arts

Tuesday 28 November 2017, 20 hrs

location: Framer Framed    IJpromenade 2  1013 KT Amsterdam

Reservations / Tickets

Fossil Free Culture NL - Drop the Shell, 2017. Credit: Laura Ponchel

Fossil Free Culture NL – Drop the Shell, 2017. Credit: Laura Ponchel

Framer FramedHumanity in Action Nederland and Castrum Peregrini present a three part symposium series, ‘Art as Resistance’. For the second symposium in the series, ‘Taking the oil out of the arts’, we are zooming in on the ethics of cultural institutions taking on financial sponsorships by fossil fuel companies. How do corporate companies benefit from this ‘greenwashing’? To what extent should their cultural beneficiaries be held responsibie? And what are the impacts of ‘artistic activism’ to address this issue?

Art as Resistance #2 will take place at Framer Framed and features presentations and a workshop by BP or not BP? and Fossil Free Culture NL.  In their presentations, BP or Not BP and Fossil Free Culture NL introduce participants to the topic and present examples of how they create impact through artistic interventions.  The presentations are followed by a workshop Artistic Activism, with both organisations giving practical guidelines on how to generate effective and affective experiences that lead to measurable social change. After the workshop participants will have a better sense of the framework in which the Fossil Free Culture movement work. They will learn to implement artistic tactics to a larger campaigning strategy.

BP or not BP? (a clever play on ‘to be or not to be’ from Shakespeare’s Hamlet) are a national network of ‘actor-vists’ in the UK, performing disobedient theatre in many different oil-sponsored spaces. They are part of the Art Not Oil coalition – a group that protests against museums accepting sponsorship from major oil corporations, which they say is a form of ‘greenwashing’. Read more: https://bp-or-not-bp.org/about/

Fossil Free Culture NL are a network of artists, activists and scholars at the intersection of cultural work and climate politics. They are campaigning to expose and confront the influence of the fossil fuel industry on cultural institutions in the Netherlands. Recent protests include the May & September 2017 impromptu #droptheshell and #spoiledlandscapes protest-performances at the Van Gogh Museum, demonstrating the museum’s ties to oil giant Shell. Several protestors were arrested. Read more: http://fossilfreeculture.nl/

On the organisers: Framer Framed, Humanity in Action Nederland and Castrum Peregrini are organisations dealing with themes of collective memory and cultural identities. In three sessions, we team up to jointly explore the necessity for a change in how cultural institutions and producers should (re)present stories and relate critically to histories as well as to the financial structures they are part of.

Our first symposium, Art as Resistance #1, took place at Castrum Peregrini and dealt with the topic of involving communities in activism and the local relevance of a place.

Read more and see:  https://framerframed.nl/en/projecten/art-as-resistance-1/

 

The Warp and Weft of Memory

The Warp and Weft of Memory

The Warp and Weft of Memory is a research project by artist Renée Turner. She has been funded by the Mondriaan Fund to work at Castrum Peregrini from September 2016 to September 2018.  The work explores the wardrobe of Gisèle d’Ailly van Waterschoot van der Gracht, and the ways in which it reflects her life, work, and histories through textiles and clothing. The aim is to weave connections to the present from a personal perspective. As a whole the project will have different contributions and public manifestations through public lectures, an exhibition and an online narrative combining artefacts, written reflections and images from Gisèle’s own archive of photographs.

Update One Year On: Inside Gisèle’s Closet

Renée Turner

Illustration of Gisèle’s attic apartment closet by Cesare Davolio

Illustration of Gisèle’s attic apartment closet by Cesare Davolio

Her closet is full. Next to garments on hangers, there are also shelves stacked with various accessories and boxes. Summer shoes, wool hats, leather gloves, woven bags and exotic slippers – each box has its own label penned with a black magic marker. More labels float within the boxes; these are subcategories.

The smell of Gisèle’s closet is a combination of dust, dry rot, perfume and naphthalene. The heating pipes run through the closet, making it unbearably warm and the aromas combined with the heat, become a scent diffuser. I try to smell her, but can’t. We can only smell people we’ve known. Or that’s how we recognize that we smell them. Her scent might still be there, but I never knew Gisèle, and cannot recognize it. To be in someone else’s closet is an odd experience. It is intimate, and sometimes uncomfortably so. These objects were the nearest to her body, and many garments still retain her shape. Clothing animates our bodies, and we in turn animate our clothes. Virginia Woolf writes about this in her novel, To the Lighthouse: “What people had shed and left — a pair of shoes, a shooting cap, some faded skirts and coats in wardrobes — those alone kept the human shape and in the emptiness indicated how once they were filled and animated; how once hands were busy with hooks and buttons; how once the looking-glass had held a face; had held a world hollowed out in which a figure turned…” (1) Working on a project like this, I realize projection is inevitable; the gaps are filled with my own reflection.

Left: Gisèle’s mirror 2017, Right: Gisèle’s mirror date unknown

Left: Gisèle’s mirror 2017, Right: Gisèle’s mirror date unknown

I have spent the past year photographing the contents of Gisèle’s closet and scanning relevant images from her photographic archive. Some items are of significance, like her dresses designed by Dick Holthaus, a well-known Dutch designer, and others are more banal, like a box of gloves or a drawer of pantyhose. What should be done with those things with little status?

Some of Gisèle’s clothes are not represented in her archive of photographs. For example, there are no images of her in the Holthaus dresses. Maybe she didn’t like the formal occasions during which she wore them. But other clothes are in images, especially those the most closely related to her work. For example her vividly coloured harlequin costume was used as a source for her paintings. She was her own muse.

An image taken from Gisèle’s archive, one of several photographs of her modelling for one of her paintings. Painting: 'Plumed ladies' (1964)

An image taken from Gisèle’s archive, one of several photographs of her modelling for one of her paintings. Painting: ‘Plumed ladies’ (1964)

Gisèle’s harlequin costume as found in her closet. Made of polyester, the colour remains unfaded.

Gisèle’s harlequin costume as found in her closet. Made of polyester, the colour remains unfaded.

As the clothes are documented, images are scanned, and eventually uploaded and tagged within the digital archive, I think about what makes an object worthy of remembrance. By what merit is something christened heritage or not? With that judgement, the present casts its dice towards an imagined future, waging a bet on stakes unknown. What constitutes value in the now might not be necessarily significant for the future and vice versa. It is a posture akin to Marshall McLuhan’s adage in The Medium is the Massage: “The past went that-a-way. When faced with a totally new situation, we tend always to attach ourselves to the objects, to the flavour of the most recent past. We look at the present through a rear-view mirror. We march backwards into the future.” In imagining the future and what it will value, we sometimes fall short of the mark. While McLuhan was speaking about technology, his sentiments are equally prescient when thinking about how we stockpile the present for tomorrow’s history.

Credits and Thanks:

The Mondriaan Fund

Castrum Peregrini: Michael Defuster, Frans Damman & Lars Ebert

Kate Pullinger: contributor

Frans-Willem Korsten: contributor

Andre Castro: mediawiki and server space

Ana Isabel Carvalho and Ricardo Lafuente: frontend design

Cristina Cochior: scans, photography and mediawiki

Cesare Davolio: illustrations

Riek Sijbring: advice on textiles and clothing

 

All images are the sole copyright of the Castrum Peregrini Foundation and were selected and scanned as a part of The Warp and Weft of Memory, a project by artist Renée Turner. The project was made possible through the generous support of the Mondriaan Fund.

 

 

In spring 2016 we announced The Warp and Weft of Memory as upcoming research project by Renée Turner as follows:

 

“Every poet of furniture — even if he be a poet in a garret, and therefore has no furniture — knows that the inner space of an old wardrobe is deep.” 

Gaston Bachelard, The Poetics of Space, 1958

warp and weft

The Warp and Weft of Memory is a research project by artist and writer Renée Turner, which will result in an online narrative exploring the contents of Gisèle d’Ailly van Waterschoot van der Gracht’s wardrobe, and the ways in which it reflects her life, work, and larger histories through textiles and clothing.

The project, combining fact and fiction, has been generously supported by the Creative Industries Fund NL, and is a collaboration with Kate Pullinger (award winning author of novels and digital fiction), Andre Castro (with an expertise in wikis, Open Source software and hybrid publishing), Ana Isabel Carvalho and Ricardo Lafuente (a free/libre graphic design duo working under the name Manufactura Independente), and Cesare Davolio (an illustrator working on educational projects and socially oriented campaigns).

At the end of the research period, the online multi-nodal narrative will be launched along with an exhibition and series of related lectures, presentations and discussions.

 

cifnl

Call for the immediate release of Osman Kavala

We, the friends and supporters of Castrum Peregrini, are deeply concerned by the recent arrest of Osman Kavala. Kavala was detained on 18 October Istanbul’s Atatürk Airport upon returning from the southeastern city of Gaziantep. He has been held in detention ever since. No charges have so far been laid against him.

Osman Kavala is not just a friend of Castrum Peregrini but one of Turkey’s most important intellectual and cultural figures.  He has played a prominent part both in defending the rights and liberties of all in Turkey, and in bringing together people of different political viewpoints to discuss their differences and to work out a common language of civil debate. Nothing could be more important in Turkey – and in many other countries – today.

Osman Kavala has played an important role not just in encouraging discussion inside Turkey but also in presenting the complexities of Turkey to the outside world. His work has been invaluable in making many people outside the country understand and appreciate Turkey. His work should be celebrated, not condemned.

We call for the immediate release of Osman Kavala. We call also for the release of the many others – academics, journalists and public servants – who have also been arrested and detained in recent months in similar circumstances. We support the work of all those in Turkey striving to create a strong civil society in which political disagreements and disputes can be resolved through public discussion and mutual respect.

 

Avraham Burg, author and former speaker of the Knesset, Nataf, Israel

Frans Damman, Michael Defuster and Lars Ebert, Castrum Peregrini, Amsterdam, The Netherlands

Adeola Enigbokan, artist and urbanist, Amsterdam, The Netherlands

Quinsy Gario, artist and activist, Amsterdam, The Netherlands

Kenan Malik, writer, lecturer and broadcaster, London, UK

Dominique Moïsi, political scientist, Paris, France

Wendelien van Oldenborgh, artist, Rotterdam, The Netherlands

Diana Pinto, intellectual historian, Paris, France

Mirjam Shatanawi, cultural critic and curator, Amsterdam, The Netherlands

Thijs Tromp, Secretary of the board, Prins Bernhard Cultuurfonds, Amsterdam, The Netherlands

Katherine Watson, director European Cultural Foundation, Amsterdam, The Netherlands

Gloria Wekker, social and cultural anthropologist, Amsterdam, The Netherlands

NIETS IS OOIT AF – over herinneringsculturen

NIETS IS OOIT AF

“Mijn babykleertjes werden gemaakt van de aan elkaar genaaide stukjes boeklinnen.”

Verslag van de tentoonstelling & het programma over Indische herinneringsculturen

Zondag 24 september 2017, 16 uur

Met: Merapi Obermayer, Esther Captain, Edy Seriese, Het Geluid Maastricht en Erik Somers

[Read more…]

Transhistoric Coalition welcomes Smári Róbertsson

De Oude Kerk, Museum van Loon, Castrum Peregrini and De Reinwardt Academie make up the coalition “Transhistoriciteit” supported within the framework of 3Package Deal. It wants to stimulate ‘creative producers’ to develop activities that connect and combine historic periods and cultural contexts.

The coalition partners have selected Smári Róbertsson to work with the four institutions From October 2017 to October 2018. Róbertsson will follow up Ronit Porat who was the first artist supported by the coalition. 

Smári Róbertsson (Iceland,1992) is an artist based in Amsterdam. In his poetic works he explores site-specific phenomena and basic architectural elements, which are translated through his practice into written pieces, musical compositions and site-specific installations. The focus of his work often lies on the inherit need we feel to autobiographize our life experiences in order to account for our existence and surrounding. Through his works we encounter objects, who’s history not only shaped them, but who owe their autonomy and existence to the incidental processes which happen in the backdrop of our own lives.

Róbertsson holds a BFA from Gerrit Rietveld Academie (2015) and an MA from the Sandberg Institute (2017) in Amsterdam.

See http://smarirunarrobertsson.com/

2017: The Female Perspective

Starting point of the 2017 programme is the artist and founder of Castrum Peregrini, Gisèle van Waterschoot van der Gracht (1912 – 2013). The life of Gisèle proves time and again to be a source of inspiration for artists, writers and intellectuals. Nevertheless, her female sex and more generally the female identity and sexuality have not been a theme in Castrum Peregrini’s programme before. The Female Perspective zooms in on the ‘womanhood’ of Gisèle and the social and cultural meanings of female identity, sexuality, feminism and gender, both in relation to the historical context and to current events.

All events of this programme are shown in the general events agenda.

 

Living as Form

 

 

 

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This two-day international conference in Amsterdam about participatory art in education and culture featured keynote presentations of cutting edge initiatives, panel discussions, workshops and open space technology sessions for an active role of all participants sharing their practice and peer-to-peer exchange.

 

With a.o. Renzo Martens, Patricia Kaesenhout, Pier Luigi Sacco,- and you!

 

The conference Living as Form followed up on previous conferences Participation on Trial (Amsterdam, October 2014) and  European Academy of Participation (Dublin, October 2016). It concluded the 2nd year of the EU project European Academy of Participation,

Living as Form brought together international and national initiatives to foster synergies: How is internationalisation of education taking shape? What good practice can we share of border crossing artistic and community work? How to match the international and the local in cultural programmes?

Living as Form discussed the relations of the cultural and social field and education and the possibilities of a formalised educational offer for artists that involves all these areas.

 

Please find here the detailed programme Living as Form

Watch the key presentations on our YouTube Channel

 

Who participated?

Artists, curators, producers, community and institutional leaders, teachers, researchers and critics, from the Netherlands and around the world.


Why?

 

Nato Thompson, from whom we borrow the title of this conference, asks whether it is time at the beginning of the 21st century to return Duchamp’s urinal from the museum to the real world. But the question arises whether it would be accepted by the ‘real world’ today, where one is suspicious towards arts and the artists in their elite bubble. Art keeps engaging with life, trying to find new forms of expression and impact. What is the artistic form of live today, or should we rather talk about art as resistance? And how does education prepare the artists of the future for their role in these new realities?

 

The conference Living As Form critically discussed the embeddedness of participatory practice in an international framework that has rapidly changed in the last two years. Before that, participatory art has largely been perceived through the historical lens of what happened since the fall of the Berlin wall. The ‘end of history’-feeling has led to the long prevailing paradigm of neoliberalism, our current political order of free trade and open markets. In this paradigm, the private sector takes the lead and the role of the public and that of the state supporting the public is pushed to the background. Simultaneously, alongside the positive effects of participation in and through art and culture, the term participation has been appropriated by the neoliberal policies to stress the fact that individuals need to take their own responsibility versus a withdrawing welfare state. Political support focussed on the economy and the financial market, not the citizen. In turn, and quite ironically, citizens and artists were expected to compensate for austerity politics, being manoeuvred into roles that would ‘art wash’ a misery that should have actually been solved by other professionals: care takers, city planners, social workers etc..

Meanwhile, the world has changed. One could believe that in countries like the USA, Britain, Poland, the Netherlands and Hungary, the revolutionary potential of people and their representatives, long considered to be the domain of the left, is now with populist and nationalist movements that battle principles of enlightenment such as human rights, equality and solidarity. In the fake and factless news their representatives produce, expertise, high end culture and, consequently, artists are framed as the enemies of the ‘people’. Nevertheless, the basic question stays the same: how can artists engage with communities in a mutual beneficial way, towards progress and more culturally and economically inclusive societies?

 

In the period October 2015 – February 2016 all partners of the EAP project have collaboratively developed a Tuning Document Participatory Art Practice_Creative Producer and the respective graduate profile of a Creative Producer. The document is intended as a reference document that reflects the diversity of the field in Europe and at the same time serves as a benchmark for curriculum builders, teachers, employers and all those academics and practitioners that want to enhance educational and practical development. It set out to establish a MA level standard and contribute to enhancing pedagogy in this field of practice. It is published at www.academyofparticipation.org.

The documents competences inform an intensive Higher Education Course Module that EAP has piloted in London in July 2017 with 30 international students (art graduates and mid-career artists) and 12 international teachers.

The conference was embedded in the projects activities and discussions so far, and invited the Dutch and the international field to contribute with expertise and experiences and use the event as a networking and sharing possibility.


Where

 

Doopsgezinde Kerk, Singel 452, Amsterdam; Castrum Peregrini, Herengracht 401, Amsterdam; Goethe-Institut, Herengracht 470, Amsterdam.

 

Organised by

 

Castrum Peregrini, Amsterdam, The Netherlands representing the EAP – European Academy of Participation partners.

In collaboration with Goethe Institut Lyon and Amsterdam, Tandem for Culture, Community Participation (European Cultural Foundation/MitOst), and representatives of the Willem De Kooning Academy Rotterdam, DAS Art Amsterdam, University of Utrecht and University of the Arts Utrecht.

The conference was financially supported by Fonds Voor Cultuurparticipatie, The Erasmus+ programme of the European Commission and the Goethe Institute Netherlands.

 

 

Castrum Peregrini Foundation is an independent cultural centre in an Amsterdam canal house. It emerged out of a community that survived there in hiding during World War II. It wants to be a place where individuals come together to make a positive contribution to an inclusive society. Participation in art and culture is a prime instrument towards this goal.

Research Council

Radical openness towards the past

The complex history of Castrum Peregrini has been subject to research of historians, literature scholars, sociologists and artists. Despite the many and good studies that exist there is a growing demand for research into areas such as resistance, subversive strategies, the relation of arts, crafts and community as well as ideology and politics of the apolitical e.a.

It is equally and especially important to shed light on power relations, sexual dependencies and group dynamics as well as on issues of gender, race and class.

We want to encourage all independend research related to the many histories of Castrum Peregrini. The archives that are accessible in our premises are open for all serious researchers.

In the light of the recent interest in possible sexual abuse in the circles around Wolfgang Frommel we support all efforts to shed light on this troubled past.

Proposals of research projects will be put forward to our research council chaired by Prof. Rosemarie Buikema (University of Utrecht). The council will appraise applications and support researchers. Later in 2017 the council will also publish their own research agenda.

Applications for use of our archives can be put forward to mail@castrumperegrini.nl

 

Research council

 

Prof. Rosemarie Buikema, University of Utrecht, NL (chair)

Prof. Ernst van Alphen, Leiden University, NL

Prof. Aleida Assmann, Universität Konstanz, DE

Dr. Ursula Langkau-Alex, International Institute of Social History, Amsterdam, NL

Vergangenheitsbewältigung

“We all carry the Castrum story in us. It has settled in the corners of memory, taken various shapes that we bring to the surface from time to time, from this we can piece a puzzle. And then it will gain a face and others will look at it as one does at a portrait. But everyone will see something else. “

Documentary maker Janina Pigaht uses this quote of Gisèle to end her film Herengracht 401’ a fascinating portrait of Castrum Peregrini in times where it needed to reinvent itself after the death of Gisèle in 2013. Janina followed Castrum Peregrini and its current and former inhabitants over the period of two years. [Read more…]

Castrum Peregrini Dialogue

We have realised the first round of our think tank, the Castrum Peregrinin Dialogue, with the generous support of the Pauwhoff Fund and in close partnership with the European Cultural Foundation and the Dialogue Advisory Group. The latter – an internationally acclaimed group of peace mediators- holds office here in our premises.

The ECF is a kindred organisation that is close to our heart in many respects. With our own history as a hiding place in which art, culture and friendship helpt young people to survive in this house we embrace ECFs mission to strive for an open, democratic and inclusive Europe within which culture is a valued and key contributor.

Together Castrum Peregrini and the ECF share the desire to develop viable concepts of living together in diversity.

In our recent publication The House of Gisèle we have published Kenan Maliks wonderful article Living in Diversity, a lecture that he delivered when we launched the house of Gisèle and Job Cohen unveiled a plaque at our building in May 2016. We took Kenans tekst as a motivation, a framing paper so to speak to bring together a divers group of thinkers from all walks of life and various disciplines to meet three times in one year for 2,5 days and analyse in a conversation, the root causes of fragmentation in Europe and the world today and what we need to take into account when thinking about how living in diversity can work. We tried to balance participation of man and woman, younger and older generation, white and non-white, various religious backgrounds. Also we made sure that we create a protected environment, apply Chatham House Rules for instance, so that everyone feels safe and can speak up, be vulnerable and engage in a dialogue that is based on learning from one another in the first place. Our experience is that our heritage – like the studio of Gisèle – offers a frame, physically and spiritually, which makes those conversations more easy, respectful and intense.

Also we engaged two experienced moderators, Avrum Burg, members of our board of recommendation, author and former speaker of the Knesset as well as Ram Manikkalingam, director of the Dialogue Advisory Group, seconded by Fleur Ravensbergen.

We work to a set agenda, everybody of the 20 participants around the table gives a short input to a certain session, like social justice, and then we speak for 1,5 hours, before we go to the next session. All is reported and after three meetings we bundle it to share it with opinnleaders, programme makers, activists etc. For this first round of meetings 2016/17 we strive to publish outcomes by December 2017.

Participants
  1. Avraham Burg, author, former politician, a.o. speaker of the Knesset (moderator)
  2. Ram Manikkalingam, director Dialogue Advisory Group (moderator)
  3. Fleur Ravensbergen, deputy director Dialogue Advisory Group (moderator)
  4. Mirjam Shatanawi, curator Middle East and North Africa, Tropen Museum, NL (rapporteur)
  5. Brian Burgoon, Director Institute for Social Science Research, University of Amsterdam, NL
  6. Adeola Enigbokan, Social Scientist, Amsterdam/New York
  7. Quinsy Gario, poet, artist, activist, NL
  8. Osman Kavala, president Anadolu Kültür, Istanbul, TR
  9. Charl Landvreugd, artist, curator, writer, Rotterdam, NL
  10. Kenan Malik, writer, lecturer, broadcaster, London, UK
  11. Dominique Moïsi, political scientist and writer, Paris, FR
  12. Wendelien van Oldenborgh, artist, representing NL at 2017 Venice Biennale, NL
  13. Thijs Tromp, Prins Bernhard Cultuurfonds, Amsterdam, NL
  14. Diana Pinto, cultural historian, Paris, FR
  15. Jordi Vaquer, regional director for Europe at Open Society, ES
  16. Katherine Watson, director European Cultural Foundation, Amsterdam, NL
  17. Gloria Wekker, Anthropologist and author, NL
  18. Gertraud Auer Borea d’Olmo, secretary general Bruno Kreisky Forum, Vienna, AT

SYNCHRONICLE by Carina Erdmann

SYNCHRONICLE

by Carina Erdmann

28 – 30 September 2017

Photos from the exhibition opening and the artist talk with Daniel Vorthuys and ‘objects also die’ by Jacob Eriksen

[Read more…]

Artist Weekend: Women and Resistance

Artist Weekend: Women and Resistance

Remembering is repetition. Remembering is the only confusion. Do you understand?

by Amber Coomans

5 – 7 May 2017

As a heritage student, something I learned on the first day was that history is constructed. Heritage is a label that people stick onto something they find important. This Artist Weekend is about that very aspect of history: how come when we google the word resistance (verzet in Dutch), only one woman pops up in Google Images?

From Friday May 5th until Sunday May 7th I attended Castrum Peregrini’s first Artist Weekend: Women and Resistance, a weekend full of artist talks, debates, presentations and film screenings. The weekend is part of a yearlong program titled The Female Perspective, which focuses on questions of female identity, feminism and gender, both in relation to the historical context of Castrum Peregrini and its founder Gisèle van Waterschoot van der Gracht. I watched this weekend, obviously, through my own eyes: a young heritage student with many questions about history, heritage and also about Gisèle’s own affinity with the female identity which was broadly debated this weekend.

The weekend opens with an introduction by curator Nina Folkersma, in which she explains more about the Female Perspective in relation to Castrum Peregrini: the house of female artist Gisèle, where she worked and lived, is the perfect place for such an event. Castrum Peregrini not only wants to preserve the material heritage of her studio and living space, but also the immaterial heritage of friendship, respect, culture and art. In WWII, Castrum Pererini served as a hiding place where spiritual and artistic freedom was the greatest survival tool.

This freedom also plays a central role in the film by Lynn Herschman that follows Folkersma’s introduction. It is about the relationship between the feminist art movement and the anti-war movement in the 1970s. The film has an impressive beginning: visitors of the Whitney Museum in New York are asked to name three female artists. They can only think of Frida Kahlo. The movie continues and a long impressive list of female artists comes along. Artists such as Judy Chicago, Nancy Spero, Howardena Pindell and Judith Baca, names I have never heard of; names that young artist and art student Janine Antoni has never heard of and names that – in literature – seem unfindable in the libraries of America. The three words that describe the feminist art movement are still relevant today: Women Art Revolution.

 

Bianca Stigter, Marjan Schwegman and Pieter Paul Pothoven present their work on the 6th of May. Bianca Stigter is former editor of the Dutch national newspaper NRC Handelsblad and one of the foremost cultural critics and historical writers in the Netherlands. Later this year, she will release the revised and richly illustrated edition ‘Atlas van een bezette stad’ (Atlas of an Occupied City). Stigter presents an impressive list of female resistance fighters like Frieda Belinfante, Rosa Boekdrukker, Marie Tellegen and Gesina van der Meulen. She also shows that many of these female heroes were related to each other, and part of the Amsterdam elite. Next is Marjan Schwegman, professor in Politics and Culture at the faculty of Humanities at Utrecht University. From 2007 to 2016 she was the managing director of NIOD (Institute for War, Holocaust and Genocide Studies). In her presentation she explains how the women Stigter talked about, became invisible. These women became partially invisible because historians often defined resistance on the basis of hard, ‘masculine’ characteristics. In the work of Loe de Jong, women are virtually absent because, as a typical man of his time, he does not include how the people in hiding were taken care of.

The role of women, who appear in the Dutch history of the resistance, is mostly described as supporting in the form of a courier. The role as courier became the focusing-point, though at the same time, Jacoba van Tongeren for instance, was not only a courier but also had a leading role in the famous group 2000.

Schwegman is interested in the dilemma of using violence, especially because religion was very important in people’s lives at the time.

Multimedia artist Pieter Paul Pothoven researches Amsterdam based socialist resistance groups, like RARA and CS6 before, during and after the war, in which both men and women played active roles. He is also interested in the dilemma of using violence: how can this history be presented without falling into nostalgia and glorification of violence? He states that it all depends on your view on life: are you already seeing violence all around you? And what does the term violence mean? Some people see the exclusion of refugees as violent.

In the round table discussion afterwards, Pothoven states that the mainstream historiography is very patriarchal. He tries to put himself in the role of a young girl: what history books could I read in which I recognize myself? A member of the audience asks what it means that Pothoven, again as a man, is writing down this history of women. But why should men always account for this? Asks Schwegman: “I have written about men and I have never had this question.”

 

The third and last day of talks has a very different feeling than the day before: more personal and vulnerable, and this is mainly because the speakers tend to put themselves into the position of someone else. What the speakers have in common is their struggle with the theme “truth”.

Aya Johanna Daniëlle Dürst Britt holds an MFA from Leiden Unicersity in Islamic studies. She is an editor of the online al.arte.magazine, which publishes articles in Dutch and English about art, culture and society in relation to Islam. In Leiden she studied the life and work of Hasrad Inayat Khan, the founder of the Universal Sufism, and father of Noor Inayat Khan: resistance fighter and first female radio operator to be sent from Britain into occupied France to aid the French Resistance. Apart from an impressive ancestry, with royals and a long line of mystics and musicians, she also grew up hearing Dutch, as her father’s organisation would develop into the universal Sufi Movement in the West. It has a significant branch in the Netherlands, especially in the city of The Hague. Noor Inayat Khan built up a resistance group, but was betrayed by a jealous woman. This lead to her being imprisoned for several years, and eventually, a death sentence. Her last word, before her execution, was: ‘Liberté!’. This could be interpreted in the spiritual sense she grew up with: spiritual freedom. Britt asks herself the question: “What would I do? I am like her, I love music, art, and mysticism. Would I sacrifice myself?”

Ronit Porat works with photographic materials and combines them with biographical texts and materials from archives. She was born in a Kibbutz in the north of Israel, where history played an essential role in the formation of both personal and national narratives. When she finds a story that touches her in a way, she adds a layer of imagination and very often an autobiographical layer. She states that she is not very interested in the “truth”, because there is no such thing as truth. She really enjoys spending time in archives but finds it difficult to get access. Later in the round table discussion an audience member presses the fact that archives are constructed, and that fiction and history cannot be separated.

Annet Mooij, researcher and writer working on a biography of Gisèle recognizes this. Histories are stories, filled with affection and emotions. This makes writing the life story of Gisèle so very difficult. “My task is to add some meaning, logic or even a question mark to the stories. The story behind the story is impossible to find.”

Of course the weekend is about the Female Perspective, but Gisèle herself really struggled with the term femininity. In the period of her resistance in the war, she was responsible for the money, in that way she wasn’t ‘female’ at all! Later, one of the hiders accused her of being too masculine: “You made use of my male part, now you accuse me of being too masculine!?” In a letter to her husband, mayor Arnold d’Ailly, she even writes that she hates being a woman. Besides, Gisèle never focused on herself as a ‘female artist’. In that perspective it’s even more interesting that a weekend like this is, which is focussing exactly on the female aspect of artists and resistance fighters, is being organised in her former studio. What would she think of that?

 

Remembering is the only repetition. Remembering is the only confusion. No matter how complicated anything is, if it is not mixed up with remembering, there is no confusion. (Insistence, Andrea Greyer)

This quote of the screened movie sums up this artist weekend for me. I ended up having more questions after the weekend than I had before. What is resistance? What does female resistance mean? What is truth?

Reasonable Doubt – Mieke Bal

Exhibition

Reasonable Doubt by Mieke BalReasonable Doubt_Mieke Bal 18 maart 2017 Photo by Przemo Wojciechowski

Opening Saturday March, 18th at 17 hrs

Reasonable Doubt (2016), the latest film project by cultural theorist and critic Mieke Bal, is an experiment to audio-visualise ‘thought’. Mixing docu-drama with theoretical fiction, the project stages scenes from the lives of philosopher René Descartes (1596-1650) and the Swedish Queen Kristina (1626-1689).

Reasonable Doubt is on show till 13 April 2017, open Tuesday till Friday 12 – 18 hrs.

Thursday 13 april, exhibition is closed at 15:30 hrs

Artist Talk: Mieke Bal on Reasonable Doubt 

On March 30, Mieke Bal will talk about ‘thinking in film’: an experiment to audio-visualise thought. In accordance with her concept of ‘thinking as a social process’, this talk will not be like lecturing ‘at’ people, but sharing the excitement of discovering how things work.  RSVP productie@castrumperegrini.nl

read here the review by Jeroen Lutters published in MetropolisM: “Hommage aan Mieke Bal”

intellectual playground
think tank, projects,
research

 

Featured Project

Living as Form

A two-day international conference about participatory art with keynote presentations of cutting edge initiatives, panel discussions, workshops and open space technology sessions. With a.o. Renzo Martens, Patricia Kaersenhout, Pierluigi Sacco,- and you!

 

 

http://castrumperegrini.org/2017/06/06/10379/

Kunsttarot – De Kaarten van Gisèle

Het kunstenaarscollectief DE PARASIET  maakte een selectie uit de vele objecten uit het atelier van Gisèle (1912-2013) en schreven er telkens een korte tekst bij die tezamen een serie serieuze, wonderlijke, wijze en ludieke levenslessen vormen in hun nieuwste KUNSTTAROT – De Kaarten van Gisèle die nu i.s.m. Castrum Peregrini wordt gepubliceerd.

Bestel dit bijzondere Kunsttarot nu via productie@castrumperegrini.nl – De Kaarten van Gisèle € 16,95 excl. porto kosten

Het Kunsttarot – De Kaarten van Gisèle wordt in een beperkte oplage geproduceerd.

Het Kunsttarot – De Kaarten van Gisèle in de media:

 

Critically Committed Pedagogies – Amber Coomans

Critically Committed Pedagogies, #2

A recap of  a semi-public seminar

by Amber Coomans

March the 10th is a vibrant day in Castrum Peregrini. Together with Dr. Esther Peeren, (University of Amsterdam, ASCA and Amsterdam Centre for Globalisation Studies), Professor Peter Kraftl (University of Birmingham), Jack Halberstam (Professor of Gender Studies and English at Columbia University) and the moderators Renee Turner and Frans-Willem Korsten, the students of the Piet Zwart Institute and many other guests immerse themselves in “critically committed pedagogies.” Although the word critical may sound as a cliché, Frans-Willem Korstens states, together with the word committed, it’s exactly what this seminar is about.

Esther Peeren

The seminar begins with Dr. Esther Peeren talking about where we teach and how the spaces in which we teach influence learning. She’s inspired by philosopher Michail Bachtin and his so-called chronotopes: intrinsic connectedness of temporal and spatial relationships that are artistically exposed in literature. There is the chronotope of the adventure novel, in which the main character always forgets the things he has learned in the previous episodes and is constantly surprised by everything. In this world learning is not possible. Another example is the chronotope of the Road, in which meeting new people from different backgrounds is central. Bachtin states that these chronotopes also exist in the real world.

The chronotope of the Salon is the place where dialogues can happen and where there is a more dialogic and interactive atmosphere. Perhaps this is an example of what a classroom should look like?

What does it mean to have this seminar at Castrum Peregrini? You could see the former WWII hiding place as a learning space for the hiders. They continued learning by writing and discussing, as in the chronotope of the Salon.

The discussion then turns to the VOC-room in the University of Amsterdam where the faculty of Humanities is now seated. How does the history of this place influence the learning processes that characterize this place? And what does it mean that this hasn’t really been discussed? Our heritage from WWII seems to be allowed to haunt us, as shown by the popularity of the Anne Frank house, but our colonial history isn’t. Why is this the case? Peeren concludes with Bachtin, who explained that learning is an internal conflict: It’s going to be difficult! That internal conflict, or internal dialogue is not ignored at Castrum Peregrini. It is a learning space and thinking space where attention is paid to time and space. If more learning places such as universities would pay more attention to time and space, we would achieve different ways of learning, resulting in more inclusion.

To end with a clever statement from one of the students: It’s not about what the space does to you, it’s who you become because of the space that matters.

Peter Kraftl

The second talk of the day is given by professor Peter Kraftl. He talks about his research on geographies of alternative education, and alternative childhoods in the UK, which is fuelled by his interest in space and place, being a geographer.

Alternative childhoods question standard ways of testing and the way children’s bodies are treated in schools. They create spatial ways of learning. Examples are the so-called forest-schools in Denmark, where the pupils are largely being taught outside in nature, the Kilquhanity Democratic school in Scotland, where teachers and pupils come together every week to discuss what will happen next week in a completely democratic way, and the Findhorn Foundation in Scotland which is more spiritual. What was striking in his research is the fact that teachers in alternative schools speak about love so often. Love as a completely non-sexual, non-romantic emotion. In mainstream society these senses of love are touched upon, but not as frequent. One of Kraftl’s respondents states that we need to see something like love as something bigger than just between two people: love as a responsibility. Kraftl concludes that we need to see alternative childhoods as autonomous, rather than seeing them as alternative. They are autonomous because most of the time they are independent and more outward-looking. They are distinct, but not divorced from the mainstream!

Another point of discussion in the room revolves around the issues of class and inequality in relation to alternative childhoods. It really depends on the places you go to, states Kraftl, because there is a huge diversity within alternative childhoods. It is an important topic.

Jack Halberstam responds to Kraftl’s talk by saying that love being defined as opposed to sexuality is nonsense and impossible. Kraftl agrees that it is indeed problematic to separate love and sex (and jokingly suggested perhaps a very British thing to do.)

A student presses the question whether it’s ethical to homeschool a child. Isn’t it a form of child abuse? Maybe it is, but maybe it’s abuse to put children in a learning environment with only people of the same age. A complicated but interesting subject with much to discuss about.

Jack Halberstam

The seminar ends with Jack Halberstam talking about frightful leaps into darkness based on Auto-Destructive Art. In Halberstam’s own words: from talks about utopian projects we now dive into total destruction at the end of the day.

‘Art without a safety net’ is what Halberstam speaks about, in combination with why we might use queer theory to think differently about death. Why? We’re living in a world where life expectancy has been greatly increased. Also, technological investment happens so fast that we will reach the moment where we will have transcendent the physical condition of death. At least, this is what the trans humanists want us to believe. In a way, Halberstam states, we already are at that point because of IVF. People that normally wouldn’t be able to reproduce are able to now. You can see humanity move towards destruction and we have to think about reproduction and death differently. Auto destructive artists, like Gustav Metzker who lived in Amsterdam for a while in the 70s, aim to think about these subjects in a different way. Metzker has tried to shatter the sentimental investment in WWII, by making clear that the genocide continues and could easily happen again.

Halberstam ends with the following: let’s see if this archive of auto destructive art can give us a set of tools to think differently about embodiment, life, death, risk, safety, art, creativity, and violence. Is there anything within this archive that we can use for the current set of disasters that threaten us?

The contribution of Jack Halberstam was also broadcasted on Castrum Peregrini Facebook Live Feed, Friday 10th March.

As part of the project The Warp and Weft of Memory artist and writer Renée Turner took the initiative for a number of Critically Committed Pedagogies in the House of Gisèle on 20 January and 10 March 2017. The Warp and Weft of Memory is a research project by Renée Turner, which will result in an online narrative exploring the contents of Gisèle d’Ailly van Waterschoot van der Gracht’s wardrobe, and the ways in which it reflects her life, work, and larger histories through textiles and clothing. The Warp and Weft of Memory is made possible by the generous support of Mondriaan Fund

Amber Coomans studies heritage at Reinwardt Academie Amsterdam, and a minor Philosophy, Worl religions and Spirituatlity at HKU Utrecht. Amber joins team Castrum Peregrini on a voluntary basis.

 

Critically Committed Pedagogies, #2

Seminar

Critically Committed Pedagogies

Friday March 10th from 10:00 – 17:00

with contributions by:

Professor Peter Kraftl, chair in Human Geography College Director of Internationalisation at the School of Geography, Earth and Environmental Sciences at the University of Birmingham.

Dr. Esther Peeren is Associate Professor of Media Studies at the University of Amsterdam, Vice-Director of the Amsterdam School for Cultural Analysis (ASCA) and Vice-Director of the Amsterdam Centre for Globalisation Studies (ACGS).

Jack Halberstam is Professor of Gender Studies and English at Columbia University. Halberstam is the author of five books: Skin Shows: Gothic Horror and the Technology of Monsters (Duke UP, 1995), Female Masculinity (Duke UP, 1998), In A Queer Time and Place (NYU Press, 2005), The Queer Art of Failure (Duke UP, 2011) and Gaga Feminism: Sex, Gender, and the End of Normal (Beacon Press, 2012)

Moderated by Renee Turner and Frans-Willem Korsten 

Working from the unique place and the history of Castrum Peregrini, the Master Education in Arts programme of the Piet Zwart Institute and Castrum Peregrini, will host this semi-public seminar. Examining unexpected sites and paradigms of learning, the aim is to plot spaces for maneuverability, if not resistance or possibilities for imagining and acting otherwise.

As this is a working seminar with limited space to facilitate discussion, reservation is required. This event is FULLY booked >> If you wish to reserve a place on the waiting list, please do so before Monday, March 6th. Send your request to: Susana Pedrosa Email s.m.de.melo.pato.pedrosa.de.jesus@hr.nl

Emerging hiStories 2017

Exhibition
Emerging HiStories 

Opening 27 January 2017, 17 hrs
On show until 10 March 2017
Open Tuesday – Friday, 12-18 hrs

The tradition of survival; stories and objects of refugees. Composed by Özkan Gölpinar and Nadette de Visser.

radio-1A collection of 20 symbolic objects and stories about flight, ordeal and growth. Through the stories and objects, collected at the Turkish-Syrian border, in the Netherlands and in Germany, ‘we’ connect with ‘the other’. Emerging [Hi]Stories tells the story about the condition humain of being a refugee. Placed in the studio of Gisèle, these objects and stories create a dialogue with the history of Castrum Peregrini.  Read more.

Home and Belonging

Round Table Conversation
Home and Belonging

Tuesday 28 February 2017, 20.00 hrs

Havaintokuva_PulkkinenWhile the ongoing war in Syria has caused millions of people to be displaced rendering them homeless, questions of identity and home have become acutely topical. Castrum Peregrini and the Finnish Cultural Institute for the Benelux are organizing a discussion event on the topic of “Home and Belonging”, investigating mobility of people and belongings.

Anssi Pulkkinen will open the discussion by presenting his new art work Street View (Reassembled), see picture. Pulkkinen, born 1982, is a visual artist living and working in Helsinki. Umayya Abu-Hanna an Amsterdam-based journalist and writer with palestinian roots, , Annukka Vähäsöyrinki is the Head of Programme at the Finnish Cultural Institute for the Benelux, and is currently producing the Mobile Home(less) project. She will discuss the process of the formation of value anMobile Homelessd function, but also the utopias and realities of human migration.Rana (A.J) Noman, Yemen, writer, social researcher. Rana is also represented in the exhibition Emerging hiStories with an object and a story.  Moderation: Özkan Gölpinar publicist and a member of the Dutch Cultural Council and co-curator of the exhibition Emerging hiStories.

Read more here.

Art As Resistance, #1 – by Leon Laskus

Art As Resistance,#1

Seminar on Saturday 4 February 2017

organized by Framer Framed, Humanity in Action and Castrum Peregrini

von: Leon Laskus

Am Samstag, den 04. Februar, startete erfolgreich der erste Teil der Symposiumsreihe „Art as Resistance, #1“ auf dem Intellectual Playground Castrum Peregrini in Zusammenarbeit mit Framer Framed und Humanity in Action.

Der Tag begann mit einem Grundsatzreferat der New Yorker Künstlerin Adeola Enigbokan, heute Professorin an der Universität von Amsterdam. Darauf folgten drei Workshops der Künstler Maria Guggenbichler, Charl Landvreugd und Patricia Kaersenhout zu kulturellen Identitäten, das kollektive Gedächtnis und über die Notwendigkeit Geschichte, wie sie präsentiert wird, zu hinterfragen.

Ich, seit einem halben Jahr Freiwilliger im Castrum Peregrini, nahm Teil am Workshop „Rewrite History“ von Patricia Kaersenhout. Nach dem die kulturelle Aktivistin und Performance Künstlerin ihre Ergebnisse ihrer bisherigen Werke präsentierte, war es die Aufgabe der Teilnehmer die Geschichte des Kolonialismus zu überarbeiten – in Sachbüchern oder als Collagen. Dabei sollten wir versuchen uns in eine Identität indigener Völker hineinzuverseIMG_3350tzen. Stift, Kleber und Messer waren dann unser Werkzeug die aus der zweiten Hälfte des letzten Jahrhunderts stammenden Bücher, welche zum Teil noch Rassenlehre beinhalteten, zu befreien.

Es war eine Art von kollektiver Kunst. Zuvor hatten Menschen mit diesen Büchern gearbeitet und mit deren Bildmaterial Collagen gestaltet. Patricia gab uns den Hinweis auf Affinität: Wir würden feststellen, dass wir mit jenen verbunden seien, die zuvor in dieser Weise an diesen Büchern arbeiteten. Und, es stimmte: ehe ich die übermalten, entfernten und ausradierten christlichen Symbole bemerkte, die im Geschichtsbuch nahezu überall verteilt waren, hatte ich schon begonnen die Kirchen aus den Bildern herauszuschneiden.

Nach dem Abschluss unserer Werke und das Auffassen von dem, was bereits andere vor mir im Buch getan haben, wurde es mir wieder deutlich, dass Geschichte sehr unterschiedlich präsentiert werden kann. Durch die neu gestalteten Bücher, wie auch Texte, ergab sich ein neuer Sinn der Zusammenhänge des Vergangenem. Aus der Sicht von vielen „Indianern“ also, würde beispielsweise eher „the Devil“ über den Köpfen der Kolonialherren stehen, als der Name mit sämtlichen prunkvollen adligen und militärischen Titeln.

Es zeigte sich mir, dass Kunst ein wunderbares Instrument sein kann, um aus einem Mainstream Geschichtsbild auszubrechen und durch so entstehende kritische Betrachtung des Mediums sein gewohntes Denkmuster der Geschichte zu ändern.

Leon Laskus volunteers during a year at Castrum Peregrini via Action Reconciliation Service for Peace ARSP a.k.a. ‘Aktion Sühnezeichen / Friedensdienste’. After finishing his school ‘Abitur’ in Berlin, he applied for a country and an organisation.  Every year around 180 volunteers, mostly aged between nineteen and twenty five are active for ARSP in thirteen different countries on a variety of educational, historical, political and social projects. For over 50 years ARSP has been committed to working toward reconciliation and peace, as well as fighting racism, discrimination and social exclusion. read more about ARSP

Conflicting Memories: Ukraine

Round Table Conversation
Conflicting Memories: Ukraine
A political crisis from a cultural perspective, part 2

due to circumstances: 16 February 2017 was POSTPONED >> a NEW date will be announced soon 

Language: English
Price: 7,50 euro, reduced fee 5 euro
RSVP at productie@castrumperegrini.nl

A collaboration between Castrum Peregrini and the European Cultural Foundation

Participants: Ivan Krastev, Centre for Liberal Strategies, Sofia, Vasyl Cherepanyn, Visual Culture Research Centre, Kyiv and laureate of the ECF Princess Margriet Award (2015) and Fleur de Weerd, journalist and former correspondent in Ukraine.

The participants will each give a short contribution on their view of the current conflict from the perspective of collective memory, followed by a panel discussion including the public moderated by Katherine Watson, director ECF.

Read more here.

and / or here

Art As Resistance, #1

Seminar
Art as Resistance, #1

Saturday 4 February, 11 – 17 hrs

Framer Framed, Humanity in Action and Castrum Peregrini are joining forces for a three part symposium series Art as Resistance. Our first edition starts with a key note lecture by artist & urbanist Dr. Adeola Enigbokan. Her manifesto:

ART & AFFINITY

In the wake of recent world events, art should help us to modify the groups or classes into which we organize ourselves. Art could also help us transform our thinking around where, and to whom, we belong. Art should create experiences that challenge us, forcing us to ask:

who are our “natural” companions?
who is our “true” family?
where do our obligations lie?
what are the stories we insist on telling ourselves about our “family,” our “nation,” and how can we leave these stories behind and tell new stories?

Art should constantly form and re-form us into associations along affinities we could not have imagined on our own.

After the keynote speech by Adeola Enigbokan after the lunch three interactive parallel workshops given by Maria Guggenbichler, Charl Landvreugd and Patricia Kaersenhout.

Programme

Patricia Kaersenhout

Patricia Kaersenhout

11.00-11.30 Doors open, coffee/tea and registration workshops
11.30-11.35 Welcome
11.35-12.20 Keynote by Adeola Enigbokan

12.20-13.00 Discussion/Q & A
13.00-14.00 Lunch
14.00-16.00 Parallel Workshops
16.00-16.20 Plenary wrap up
16.20-17.00 Drinks

See our Facebook Event for more information. Please make sure to book your Ticket(s) now.

Seminar on Critical Pedagogies

Seminarcritical pedagogies

Critical Pedagogies

Friday 20 January 2017

Friday 10 March 2017

From January through March 2017, Castrum Peregrini will host the Master Education in Arts students from the Piet Zwart Institute. The group will be meeting regularly in both Rotterdam and Amsterdam for a seminar on critical pedagogies.

Co-taught by Prof. Frans-Willem Korsten (The University of Leiden) and artist, Renee Turner, the seminar looks at critical pedagogies in the plural, meaning a range of educational theories with one common denominator, the term ‘critical’, which refers to the ability to analyze the social, cultural, pedagogical and institutional processes that are inherent to every form of education.

The seminar will also include a semi-public event on March 10th with guest speakers: Peter Kraftl (Chair in Human Geography at the University of Leicester), Esther Peeren (Associate Professor of Globalisation Studies at the Media Studies Department at the University of Amsterdam) and Jack Halberstam (Professor of American Studies and Ethnicity, Gender Studies and Comparative Literature at the University of Southern California).

 

If interested please send us an email: mail@castrumperegrini.nl

More information on the event and registration will follow.

Home and Belonging

Roundtable Discussion
Home and Belonging

28 February 2017, 20.00 hrs

Mathhew Wiebe Unsplash photo-1423958290593-a8eff6d8e583While the ongoing war in Syria has caused millions of people to be displaced rendering them homeless, questions of identity and home have become acutely topical. Castrum Peregrini and the Finnish Cultural Institute for the Benelux are organizing a discussion event on the topic of “Home and Belonging”, investigating mobility of people and belongings. The panel of speakers will discuss the process of the formation of value and function, but also the utopias and realities of human migration.

Havaintokuva_PulkkinenThe discussion event is part of the Finnish Cultural Institute’s artistic project Mobile Home(less). The institute has commissioned a new artwork, Street View (Reassembled), from Finnish sculptor Anssi Pulkkinen.  The art work is dealing with present day homelessness, and takes as its starting point ruins of a destroyed Syrian home, to create an installation that brings a caravan-like, mobile, temporary street view into an urban European city space. The work brings homelessness from behind news images into our everyday reality. The artist will be present at the event.

Castrum Peregrini’s exhibition Emerging [Hi]-Stories also looks at the symbolic value of material and objects as they move from one place to another. The exhibition (open 27.1.-10.3, Tue-Fri, 12-18 hrs) shows objects chosen of refugees to take with them on their journey and the stories they tell.

 

SPEAKERS

Umayya Abu-Hanna is an Amsterdam-based journalist and writer. Originally from Palestine, Abu-Hanna spent many years living and working in Finland prior to her re-location to the Netherlands. She has worked at the Finnish Broadcasting Company, Yle, as a columnist for the Finnish daily Helsingin Sanomat, as a multi-cultural expert at the for the Finnish National Gallery and a board member of the Finnish Central Art Council. At the moment she works as an adviser in Pakhuis de Zwijger, a cultural organisation in Amsterdam.

Özkan Gölpinar is publicist and a member of the Dutch Cultural Council. The Cultural council is the legal advisory organ of the Dutch government on the arts, culture and media. He was attached to the Leiden University Center for the Arts in Society on the research program Contemporary Art Beyond Boundaries. As program maker he was attached to the Mondriaan Foundation and the Foundation for The Arts, Design and Architecture (BKVB).  He has 20 years’ experience as reporter with:  Volkskrant, Trouw etc. Gölpinar has written several books, essays, theatre plays, and documentaries.

Aleksi Malmberg is the director of the Finnish Cultural Institute for the Benelux. Amongst other things, he has worked as the programme manager for the Helsinki Festival, the largest cross-disciplinary art festival in the Nordic countries, the managing director for publishing house Tactus, as well as the executive director for Our Festival. The common thread of his manifold professional history has been the relationship of influence between art and society, and he has, for example, edited the history of Kulttuuritalo, a concert venue in Helsinki that has functioned at the collision point of politics and culture.

 

Partners

Castrum Peregrini, ‘the fortress of the pilgrim’, is the nom de guerre of a WWII safehouse in the city centre of Amsterdam. Driven by her beliefs of art and friendship artist Gisèle van Waterschoot van der Gracht (1912 – 2013) helped young intellectuals and artists survive the war by offering them refuge in her house. Many parts of this canal house remain unchanged, making its history palpable. The human values of the House of Gisèle have grown and deepened in post-war years. On this background, Castrum Peregrini has developed into a lively house which organizes debates, publications and exhibitions.

The Finnish Cultural Institute for the Benelux is an independent, non-profit cultural organisation located in Brussels. As part of the network of Finnish Cultural and Academic Institutes abroad, it serves as a liaison between stakeholders in the field of culture from Finland and the Benelux countries. The Institute is an expert organisation which offers artists and organisations opportunities to create discussion, new projects and new possibilities of collaboration.

Conflicting Memories: Ukraine

 Round Table Conversation

Conflicting Memories: Ukraine
A political crisis from a cultural perspective, part 2

16 February 2016, 20.00 hrs12-debat by Pip Erken

Language: English
Price: 7,50 euro, reduced fee 5 euro
RSVP at productie@castrumperegrini.nl

A collaboration between Castrum Peregrini and the European Cultural Foundation

 

Participants: Ivan Krastev, Centre for Liberal Strategies, Sofia, Vasyl Cherepanyn, Visua10-debat by Pip Erkenl Culture Research Centre, Kyiv and 2015 laureate of the ECF Princess Margriet Award and Fleur de Weerd, journalist and former correspondent in Ukraine.

The participants will each give a short contribution on their view of the current conflict from the perspective of collective memory, followed by a panel discussion including the public moderated by Katherine Watson, director ECF.

The conflict in Ukraine is often seen in a global perspective: geopolitical spheres seem to compete again, often with reference to cold war rhetoric.
On the ground the conflict has another dimension: clashing collective memories resulting in seemingly different cultural identities. Panellists will try to deconstruct cultural reference points that form the basis of the conflict and talk about what would be needed to construct new, inclusive narratives.

The evening follows up a similar discussion one-and-a-half years ago, when the images of the Maidan clashes where still fresh in mind. What has happened since, what is the perspective for Ukrainian identity internally and internationally at the moment?

On the participants:

Ivan Krastev is the Chairman of the Centre for Liberal Strategies in Sofia, and permanent fellow at the IWM Institute of Human Sciences in Vienna. He is a founding board member of the European Council on Foreign Relations, e.a. He was ranked in the 2008 Top 100 Public Intellectuals Foreign Policy/Prospect List. Since 2004, he has been the executive director of the International Commission on the Balkans chaired by the former Italian Prime Minister Giuliano Amato.

Vasyl Cherepanyn is director of the Visual Culture Research Center (Kiev), works as a senior lecturer at the Cultural Studies Department of the National University of Kyiv-Mohyla Academy, and is an editor of Political Critique magazine. Cherepanyn holds a Ph.D. in philosophy (specialisation – aesthetics). He has also worked as a guest lecturer at the Institute for Advanced Studies of the Political Critique in Warsaw, Poland and the Krupp Wissenschaftskolleg Greifswald of the Greifswald University, Germany.

Fleur de Weerd is a historian, and independent journalist, who has written extensively about Germany and the former Soviet Union for various newspapers in the Netherlands and Belgium. She was the official correspondent for Dutch daily Trouw in Ukraine during the Euro-Cup Soccer championship and has visited the country often in 2014. Her book Het land dat maar niet wil lukken was awarded the prestigious Bob den Uyl-prijs for best literary travelogue. It recounts various diverse and complex (hi)stories of Ukraine and its inhabitants.

see also at the European Cultural Foundation

share our invitation: Conflicting_Memories_Ukraine_ECF and CP_16Feb2017

 

Important Souvnirs

Exhibition

Amie Dicke: Important Souvnirs

castrum_24On show until 23 december 2016 during guided Visits House of Gisèle and during events.
Important Souvnirs is also part of Amsterdam Art Weekend 24-27 November

Since 2009 Amie Dicke is attracted to the house of Castrum Peregrini, its interiors and its stories. She has made work related to the place, in situ or conceptually. Her artistic interventions have challenged the development of the place. Simultaneously the place had a significant impact on the artistic development and the works of Dicke. Starting off with bold statements like the work Claustrophobic (2009) her perspective and approach has changed from that of an intervenor towards that of an observer, reading traces, isolating images from their contexts and therefore challenging our perspectives. Since 2014 Dicke has put her focus on the private apartments and the studio of Castrum Peregrini founder, the artist Gisèle van Waterschoot van der Gracht (1912 – 2013). Dickes research fed into important-souvnirs.com named after a brief note by Gisèle: ‘do not touch I am sorting Important Souvnirs’ During the whole autumn season – in conjunction with other events – Castrum Peregrini will show work of Dicke within the historic contexts that are challenged by the work.

During Amsterdam Art Weekend, on Friday 25, Saturday 26 & Sunday 27 November from 14.00 – 15.00 hrs Amie Dicke will illustrate her approach in situ, from the historic material in the House of Gisèle to the outcomes presented in the studio of Gisèle.  Upon resservation only through mail(at)castrumperegrini.nl. Price: 10 euro per person in groups of 12 persons max. See http://weekend.amsterdamart.com/event/important-souvnirs-amie-dicke

screening ‘Herengracht 401’

Film Screening

‘Herengracht 401’ poster

Tuesday 20 December, 20 hrs

A documentary about the fascinating house of ‘Castrum Peregrini’ and a document that shows from different perspectives how the memory of the house is captivated and owned. ‘Herengracht 401’ had its première at the Dutch Film Festival in Utrecht last September 2016. And will make a tour in the art house cinemas in the Netherlands and abroad. A film by Janina Pigaht. With aftwards a talk moderated by Rosemarie Buikema, professor Gender studies University of Utrecht. 

Tuesday 20 December entrance: € 7,50, reduced € 5,-

RSVP: mail@castrumperegrini.nl

Residencies supported by Mondriaan Fund

2017 artists in the residence at Castrum Peregrini supported by the Mondriaan Fund

 

March & April 2017: Pieter Paul Pothoven 

pothoven_castrum_peregrini_2017

The work of Pieter Paul Pothoven (1981, NL) comprises sculpture, installation, and includes different forms of writing as well. In his projects, he searches for alternative ways of engaging with the past through study of historical sites, artifacts and resources, in ord

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er to mediate new relationships with history often based on their potential use-value in the present. During a 2-month residency at Castrum Peregrini, he will continue to study socialist resistance before, during and after the Second World War in Amsterdam. Central to his project is a comparative study of three groups that organized their actions in radically different times but share similar motives.

pothoven_castrum_peregrini_2017Pieter Paul Pothoven received his BFA at the Gerrit Rietveld Academie in Amsterdam (NL) and his MFA at Parsons The New School of Design, New York. He was a resident at Fine Arts Work Center, Provincetown (US), Van Eyck Academie, Maastricht (NL) and Instituto Sacatar, Salvador (BR). His work has been shown in various solo and group exhibitions. Recent exhibitions include: ‘You talkin’ to me?’, Barbara Seiler, Zürich (CH); ‘Sunsets never looked as stunning as through the haze of factory sooth’, Van Eyck Acadamie, Maastricht (NL); ‘Territorial Drift’, Garage, Rotterdam (NL); ‘Listen to the Stones, think like a mountain’, Tatjana Pieters, Ghent (BE); ‘Lapis Lazuli from Serr-i-Sang’, PuntWG, Amsterdam (NL); ‘11:59, on a date of no particular significance’, Hudson D. Walker gallery, Provincetown (US); ‘The intelligence of Things’, The Kitchen, New York (US). He initiated and co-curated ‘Weight of Colour’, a symposium about the materiality of color, Amsterdam (NL) and the group exhibition ‘I scarcely have the right to use this ghostly verb’, New York, (US). His texts have been published in amongst others: Anamesa Journal, Simulacrum, Volume, De Gids and Beyroutes, an Alternative Guide to Beirut. Currently he lives and works in Amsterdam. pieterpaulpothoven.com

 

October & November 2017: Aimée Zito Lema
Rond de Jambe, video still, 2015

Rond de Jambe, video still, 2015

Expanding an insignificant event, isolating a sudden movement, choosing an affective gesture and zeroing in on it until we lose ourselves in the sounds it emits, the grain of the photo or the word that names it, furnishes us with a chance to reinterpret the events as they are presented to us, and of understanding history from new perspectives.

The Subversive Body, 2016 / Installationview @ Wilfried Lentz Rotterdam/ Photo: Sander van Wettum

The Subversive Body, 2016 / Installationview @ Wilfried Lentz Rotterdam/ Photo: Sander van Wettum

Aimée Zito Lema grounds her practice in this premise. Based on a process of selection and appropriation, Zito Lema zooms in on the detail of gestures, often by using archive images taken of working class demonstrations or counter-cultural movements. This motif, once enlarged almost to the point of abstraction, brings to mind the mechanism that enables cooperation and development within a community, or a movement, or an affective structure than bonds a group or a family. It is revealed to us in her work, just as a tiny detail can give rise to a community spirit and all that this brings with it. Her artistic practice structures the narrative around the process, triggering a dynamic that, taken together, lends meaning to the work. The idea leads to an expression, act or performance. This work in turn gives rise to the object that, inasmuch as a metaphor, returns us to the expression from which it came, only to be recycled and give birth to new possibilities.*

For her residency at Castrum Peregrini Zito Lema will focus on the role of friendship within adverse social-political circumstances.  She will research different notions of friendship in political contexts, taking as starting point the history of the house of Gisele van Waterschoot. Looking at past and present, searching for traces of these notions of friendship, understood as solidarity and support structure.

Portrait Aimée: Photo by Hugo Tillman

Portrait Aimée: Photo by Hugo Tillman

Visual artist Aimée Zito Lema (born in Amsterdam, 1982, grew up in Buenos Aires) studied at the University of the Arts, Buenos Aires, the Gerrit Rietveld Academy, Amsterdam, and followed the Master Artistic Research program of the Royal Academy in The Hague (2009 – 2011). She was artist-in-resident at the Rijksakademie (2015-2016). Her recent exhibitions include: The 11th Gwangju Biennale; The Dorothea von Stetten Award, Kunstmuseum Bonn; Hors Pistes: L’art de la Revolte, Centre Pompidou Paris (all in 2016); the long-term project Body at Work at Casco, Utrecht (2013 – 2014); and the residency ‘Het Vijfde Seizoen’, Den Dolder, (2011).

Emerging [Hi]-Stories

Logo+raster_600_rgb_72dpiDe overlevering van overleven; verhalen en objecten van vluchtelingen. Samengesteld door Özkan Golpinar en Nadette de Visser.

Vernissage, 27 januari 2017, 17 uur
Te zien tot 10 maart 2017
O
pen dinsdag t/m vrijdag 12-18 uur

Een verzameling van twintig symbolische objecten en verhalen over vlucht, beproeving en groei. Via de verhalen en voorwerpen, verzamelt aan de Turks-Syrische grens, in Nederland en in Duitsland, worden ‘wij’ met ‘de ander’ verbonden. Emerging [Hi]Stories vertelt over over de menselijke conditie van het vluchtelingschap.

Door voorwerpen, verhalen en installaties op verschillende plekken in het Atelier van Gisele, wordt de menselijke conditie van dat vluchtelingschap uitgebeeld. Deze vertolkingen gaan een dialoog aan met de geschiedenis van Castrum Peregrini. Soms worden objecten getoond als kostbaar artifact, op een pilaar in een display case, dan weer uitvergroot afgedrukt op plexiglas of doek, altijd vergezelt door het voorwerp en het verhaal waaraan zij hun betekenis ontleenden. Vluchtelingen zelf leiden bezoekers langs hun verhalen.

De geschiedenis van de mens is er een van mobiliteit. Terwijl het Westen grote stromen mensen uit het Zuiden en Oosten ziet, tekent zich een schisma af. Een onzichtbare scheiding die de wereld in ‘wij’ en ‘hun’ verdeelt.

Daar wordt communiceren en verbinden moeizaam. Politici zetten hekken neer en wedijveren voor muren. Als men een muur bouwt, sluit men dan de ander buiten, of sluit men zichzelf in? Deze selectie persoonlijke verhalen en voorwerpen wil gaten maken in de onzichtbare hekken van de geest. Lees je iemands verhaal, dan kun je de ‘ander’ worden, als een karakter in een roman. Dit is een zoektocht naar een universele werkelijkheid.

radio-1Nasser Fakhteh vertelt ons zijn verhaal. Hij zat gevangen in Iran, eerst onder de Sjah, later onder de Ayatollah’s. Zijn vader kocht een radio met wereldontvangst toen hij, op 17 jarige leeftijd, voor het eerst werd opgepakt.

“Ik kon met vrijwel niemand meer communiceren terwijl hij een deur naar de wereld vond, onzichtbaar, over de radiogolven. (..) De gevangenis van de Sjah waarin ik zat is nu een museum. (..)Op twee eindeloze bakstenen muren zijn plaatjes bevestigd met de namen van alle voormalige gevangen. In grote letters daarboven staat: ‘De muren spreken’(..)Maar die andere gevangenis, die van de Ayatollahs waar ik met heel veel van hen daarna in terecht kwam, daar hebben ze het niet over.”

Zie ook www.emerginghistories.com

Workshop Dirt, Punk, Trash UvA

Workshop

Dirt, Punk, Trash

Thursday 1 December 2016, 14 hrs

‘Dirt, Punk, Trash’ is a workshop where art/cultural theoreticians and practitioners theorize the notions — which are now often employed interchangeably — in two ways. They discuss concrete punk-, dirt- and trash-focused cultural practices and objects; and they map and unravel conceptual interrelations between the notions. Speakers are dirt/punk/trash experts Gluklya (Factory of Found Clothes, St. Petersburg / A’dam), Caleb Kelly (University of New South Wales), Natalia Samutina (Higher School of Economics, Moscow), Yngvar Steinholt (Tromso University). punk-dirt-trash-worksop-dec-2016

The workshop is introduced and moderated by the members of the VIDI Sublime Imperfections team Fabienne Rachmadiev, Jakko Kemper, and Ellen Rutten (all UvA). Click here for more information and abstracts Guests are welcome; for questions, registration and more information please contact Omar Elgendy OmarElgendy@live.nl

Le musée imaginaire by Jean-Hubert Martin

Lecture

Le musée imaginaire

by Jean-Hubert Martin 

25 November, 08:30 – 10 uur

  • this lecture is sold out

amsterdam-art-weekendDeze lezing is georganiseerd door Frans Hals Museum | De Hallen Haarlem, Oude Kerk, Museum van Loon en Castrum Peregrini in samenwerking met Amsterdam Art. Het ’transhistorische’ – het verbinden van heden en verleden – is voor elk van deze instellingen is een belangrijk onderwerp. Ze beogen erfgoed te verbinden aan hedendaagse kunst en sociale kwesties, bevragen traditionele kunsthistorische categorisering en ontwikkelen nieuwe inzichten hoe (kunst)objecten betekenis krijgen los van hun oorspronkelijke context.

Jean-Hubert Martin geeft tijdens het Amsterdam Art Weekend 2016 een lezing over ‘transhistorical curating’ in de Oude Kerk. Martin is een van ‘s werelds meest toonaangevende curatoren. In zijn loopbaan als onder meer directeur van Museum Kunstpalast in Düsseldorf en curator van de legendarische tentoonstelling ‘Magiciens de la Terre’ (1989) heeft hij bijgedragen aan de verbreding van het begrip hedendaagse kunst.

Tijdens ‘On Transhistorical Curating’ zal Martin zijn transculturele en transhistorisch tentoonstellingspraktijk toelichten, met de nadruk op zijn meest recente tentoonstelling, Carambolages (2 maart tot 4 juli 2016, Grand Palais, Parijs).

location and tickets at: Oude Kerk. €10 (incl. koffie & croissant)  Vrije entree met Museumkaart, ICOM card, stadspas, I Amsterdam Card
Beperkt aantal plaatsen – this lecture is sold out!

Imagine IC & Castrum Peregrini N8 2016

Museumnacht 2016

Roti Rollen & Bitterballen

5 November, 19-02 uur

Grootse dromen, geringe kansen. Castrum Peregrini en Imagine IC kijken dit jaar tijdens de Museumnacht samen naar overeenkomsten tussen onderduikers in WOII en jonge migranten net in Nederland aangekomen. Hoewel er driekwart eeuw tussen zit, vertellen de paralellen een universeel verhaal over de mensheid, niet tijdsgebonden en vrij van culturele en etnische verschillen. ‘Selfies as Footprints’ en ‘Remnants of a lost world’. Leer van het verleden en neem het mee voor nu.

selfies-as-footprints-n8-2016

Ook de bar is zat 5 nov. een hotline van Amsterdam Zuidoost waar Imagine IC is gevestigd naar de Herengracht in het centrum; met Roti Rollen & Bitterballen, Wodka/Red Bull, Hernandez & Gin Tonic.

Met live optredens van de band ‘Burning Down the House’

Kaarten en meer info via www.n8.nl

Film ‘Herengracht 401’

Film 

Herengracht 401

Herengracht 401A film by Janina Pigaht
Première Saturday 24 September, extra screening on Thursday 29 September at Nederlands Film Festival 2016 Utrecht
Screening dates at Castrum Peregrini and other partners to be announced soon.

Tijdens de Tweede Wereldoorlog was het statige grachtenpand aan de Herengracht 401 een onderduikadres. Na de oorlog vormden de onderduikjaren de basis voor een hechte leefgemeenschap, die door de bewoners Castrum Peregrini werd gedoopt. 2013 is de oprichtster en patrones, Gisèle d’Ailly van Waterschoot van der Gracht, overleden. Nu is het de taak van de huidige bewoners -Michaël, Frans en Lars- om het huis een nieuwe bestemming te geven. Terwijl zij opruimen en verbouwen om het huis open te kunnen stellen voor publiek, begint regisseur Janina Pigaht te graven in het verleden. Ze wil het verhaal van het huis vastleggen. Maar is er eigenlijk wel een eenduidig verhaal te vertellen?

ENDS MEET – Marijn Bax

Exhibition

Marijn Bax: Ends Meet.

Unseen beeld Marijn Bax

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Vernissage
Friday 16 September, 16 hrs by Stijn Huijts, artistic director Bonnefanten Museum Maastricht
16 – 25 September 2016
Open daily 12 – 18 hrs
Ends Meet is part of unseen photo festival 
Lecture: Thursday 22 September, 20 hrs ‘RUIMTE, bron voor GELIJKTIJDIGHEID’ by Fons Elders, philosopher


For Ends Meet, Marijn Bax has investigated the archive and studio of the artist Gisèle van Waterschoot van de Gracht. Gisèle’s note “Where is the frontier of like and love?” formed the basis for her new work which will be exhibited by Castrum Peregrini in Gisèle’s former studio.

Marijn Bax’ work and aspiration is driven by a deep interest in the human psyche and how humans relate to their physical and mental environment. Based on personal stories she addresses universal themes and creates opportunities to question our own behaviour and how our perception is continuously influenced.

Photography is her stepping stone towards a variety of media and materials such as video, audio, writing, 3D installations and public opinion, to reflect upon this invisible and complex matter.

Marijn Bax (1981) graduate from the Academy of Art and Graphics – Sint Joost, Breda, NL. Site-specific installations based on historical stories are her main focus. In  2015 she received the Talent Development Grant from the Mondriaan Fund for emerging artists.

On Saturday 17, Sunday 18 and Sunday 25 september, between 14 – 17 hrs the artist will be present in a ‘dialogue with the audience without words’. For additional programme see our Facebook page.

Call for volunteers!

IMG_3352Are you interested in contemporary culture combining a heroic past with pressing social issues? Would you like to support a non-profit arts organization with a long and unique history?

Castrum Peregrini is looking for volunteers:

Host in the exhibition space: As part of the on-going public program Memory Machine Castrum Peregrini organizes exhibitions in collaboration with cultural producers, taking place in the old studio of founder Gisèle van Waterschoot van der Gracht.

Bartender: Castrum Peregrini regularly organizes lectures, debates, performances and movie screenings that target a broad audience, including creative producers, artists, students, teachers and academics. Afterwards visitors meet in the bar.

Tour guide: Castrum Peregrini offers guided tours of the historic house, visiting the authentic hiding floor and studio of Gisèle van Waterschoot van der Gracht is. As a guide you tell the story of Gisèle and the history of Castrum Peregrini to groups of up to 12 people who sign up in advance.

Exhibitions are open from Monday to Friday, from 12:00 – 18:00.
Events take place in the evening or during weekends.
Tours by appointment.

IMG_3485What we ask:

  • Proficiency in Dutch or in English
  • Available from 4 hours per week (host shifts are from 10:00 to 14:00 and from 14:00 to 18:00, bar shifts from 18:00 to 22:00)
  • A representative, friendly attitude to visitors
  • Willingness to learn more about the exhibitions
  • Dedication: the hosts, bar staff and tour guides keep the program running!

What we offer:

  • Invitation to all our openings and events (and free drinks during events)
  • Annual Festive event for all people involved
  • A chance to work together with the international network and team of Castrum Peregrini, and meet international artists and other professionals from the art and cultural world
  • Work at an inspiring place
  • Specifically during your shifts:
    • A place to read / study / work• Free drinks (coffee / tea / juice) and cookies

Enthusiastic? Please e-mail Judith, j.couvee@castrumperegrini.nl, for questions or to apply, including your motivation.

Castrum Peregrini zoekt vrijwilligers!

IMG_3352Ben je geïnteresseerd in een heroïsch verleden dat hedendaagse cultuur met acute maatschappelijke vraagstukken verbindt?

Wil je een non-profit kunstorganisatie met bewogen geschiedenis steunen?

We zoeken mensen voor verschillende taken:

  • Host in de expositieruimte: In het kader van het doorlopende publieksprogramma Memory Machine organiseert Castrum Peregrini in samenwerking met culturele producenten verschillende tentoonstellingen in het oude atelier van oprichter Gisèle van Waterschoot van der Gracht.
  • Barmedewerker: Castrum Peregrini organiseert regelmatig lezingen, debatten, performances en filmavonden die zich richten op een breed publiek, zoals creative producers, kunstenaars, studenten, docenten, academici en opiniemakers. Na afloop ontmoeten mensen elkaar in de barruimte.
  • Rondleider: Castrum Peregrini biedt rondleidingen aan in het historische huis, waarbij onder andere de authentieke onderduiketage en het atelier van Gisèle van Waterschoot van der Gracht te bezichtigen zijn. IMG_3485Als rondleider vertel je het verhaal van Gisèle en de geschiedenis van Castrum Peregrini aan groepjes van maximaal 12 mensen die zich van te voren aanmelden.
Tentoonstellingen zijn geopend van maandag t/m vrijdag van 12:00 – 18:00.
Evenementen vinden plaats in de avond of in het weekend.
Rondleidingen op afspraak.


Wat we van jou vragen

  • Vaardigheid in het Nederlands of in het Engels (beide is een pre)
  • Beschikbaarheid vanaf 4 uur per week (host shifts zijn van 10:00 – 14:00 en van 14:00 – 18:00, bar shifts van 18:00 – 22:00)
  • Een representatieve, vriendelijke houding ten opzichte van bezoekers
  • Bereidheid je te verdiepen in de tentoonstellingen
  • Toewijding: vrijwillig maar niet vrijblijvend, de hosts, barmedewerkers en rondleiders houden het programma draaiende!

Wat we je kunnen bieden

  • Een plek in een hecht team
  • Uitnodiging voor al onze openingen en evenementen (en gratis drankjes tijdens evenementen)
  • Jaarlijks feestelijke bijeenkomst voor alle betrokkenen
  • Een kans samen te werken met het internationale netwerk en het team van Castrum Peregrini en internationale kunstenaars en andere professionals uit de kunst- en cultuursector te ontmoeten
  • Werk op een inspirerende plek

Specifiek tijdens je shifts

  • Een plek om aan te lezen/studeren/werken
  • Gratis drinken (koffie/thee/fris) en iets lekkers
Enthousiast? Email Judith j.couvee@catsrumperegrini.nl om je aan te melden!

DSC08080IMG_4616

Exhibition Marijn Bax

Unseen beeld Marijn BaxWhere is the frontier of LIKE and LOVE?

16-30 September 2016
Open 12 – 18 uur, vrij toegang
part of Unseen Photo Fair

The work of Marijn Bax is often site-specific. Her new work Ends Meet is the second work she presents at Castrum Peregrini. For this work she did an investigation into the archive of Gisèle van Waterschoot van der Gracht, focussed on the question found on one of her own notes: Where is the frontier of LIKE and LOVE?.
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New 3Package Deal coalition: Transhistoricity

De Oude Kerk, Museum van Loon, Castrum Peregrini and De Reinwardt Academie make up the new coalition “Transhistoriciteit” supported within the framework of 3Package Deal. It wants to stimulate ‘creative producers’ to develop activities that connect and combine historic periods and cultural contexts.

RPThe coalition partners have selected Tel Aviv based artist Ronit Porat to live and work in Amsterdam for a year as of September 2016. Her studio will be based, in turn, at the host institutions.

Artist Ronit Porat writes about her art, “My engagement with times and places is not an external one, but applies a subjective circular motion that begins with the personal, shifts to the collective, and then returns to the self.” So then, according to Porat – who holds a MFA from the esteemed Chelsea College of Art and Design and who has exhibited her art in dozens of shows from Paris to Warsaw to Jerusalem to Albania and beyond – time and history are transcendent and the mistakes and victories of our histories reside with us now and here.

‘Untitled’ , 2012, The Kids who were shot, (The Marching Children, Alfred Alfred Eisenstaedt)

‘Untitled’ , 2012, The Kids who were shot, (The Marching Children, Alfred Alfred Eisenstaedt)

Her art clearly explores these concepts of subjectivity and transcendence and connectedness, and her primary tools are juxtaposition, overlay, and mixed media. Using these tools among many, she shows us that time and history are not just one thing, but they are cobbled together to forge a collective memory that colors the way we see the world: on top of an image of an unidentified boy, she scribbles a Hitler mustache; she juxtaposes a nose-diving war plane with a nose-diving woman dressed in a short white garment; she tears in half a self portrait of Marianne Breslauer; in several images of unusual bodies, she convolutes anatomy and physiology to craft images that are at once familiar and alien. And the wondrous, whimsical, challenge of her work is tempered with a muted grayscale color scheme that unites each of her pieces as sentences in one large conversation about what it is to be alive.

One inspiration for Porat’s work is the Kibbutz in which she grew up, a “unique place which derives it identity from its history and the story behind its settlement.” Through her upbringing there, Ronit Porat began to understand how important it was to analyze histories holistically, incorporating objects and artifacts that come from various periods and cultural contexts. One can clearly see this in her work, which is radically inclusive and pleasantly jarring because of its unexpected pairings of disparate images and texts. Regarding her reasons for mixing so many images, Porat says that “everything can be included in order to create new narratives from the images that resonate with memory, pain and belonging.” And indeed, viewers are sure to experience visceral emotions when enjoying the Israeli artist’s work; it is easy to feel as though we too are included in her art, that she is telling our personal histories.

Ronit Porat’s art has resonated with audiences all over the world, and she has received coveted awards from organizations such as America-Israel Cultural Foundation, the Arab Jewish seminar on Creative Environment, the Ministry of Culture and Sport, and the Hadassah College of Technology. She was also named Musrara, Jerusalem’s Artist for Social Change in 2009.

Lychnari – Gisèle (1988)

LYCHNARI – GISÈLE

verkenningen in het Griekenland van nu

publiceerde in 1988 in het kunstkatern het artikel ‘GISÈLE’ geschreven door archeoloog en Griekenland expert Stella Lubsen.

Lychnari is sinds 1987 een Nederlandstalig tijdschrift over het hedendaagse Griekenland, met als ondertitel: “Verkenningen in het Griekenland van nu”. Het verschijnt vier keer per jaar. Het Griekse woord lychnari betekent olielampje: het tijdschrift wil — voor een breed publiek, maar met een zekere diepgang — licht werpen op de moderne Griekse wereld: van Griekenland, van Cyprus en van de Grieken waar ook ter wereld.

Lees hier het hele artikel ‘Gisele’ in Lychnari Jaargang 2 Nr 1 1988

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In 1988 blikt Gisèle (1912 – 2013) in gesprek met Stella Lubsen terug op de zomers die zij vanaf de jaren zestig op het Griekse eiland Paros doorbracht, een periode die weer een heel nieuwe dimensie aan haar brede oeuvre toevoegde. Haar atelier in haar kloostertje Aghios Ioannis op basis waarvan Gisèle haar laatste grote atelier in Amsterdam inrichtte.

 

De 2e jaargang van dit academische tijdschrift verscheen bijna 30 jaar geleden, toen begon het editorial met de onderstaande inleidende kop en tekst. Die regel sluit nog altijd nauw aan bij de huidige situatie, zou je kunnen zeggen.

Spannende Tijden Het nieuwe jaar is in Griekenland begonnen met allerlei belangrijke ontwikkelingen, die een stempel kunnen gaan drukken op de binnenlandse verhoudingen en de buitenlandse politiek van het land.