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

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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 order 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