Some Things Hidden – Film screening Herengracht 401

Date: 20/02/2018

Time: 20.00 - 22.00

Location: Framer Framed, IJpromenade 2

In the framework of exhibition Some Things Hidden, Framer Framed will be showing the documentary Herengracht 401, on 20 February. The screening is followed by a conversation with filmmaker Janina Pigaht, Lars Ebert (Castrum Peregrini) and Josien Pieterse (Framer Framed).

The title Some Things Hidden refers to the history of Castrum Peregrini in multiple ways. Firstly, in a literal sense: the stately mansion located at the canals of Amsterdam – at address Herengracht 401, hence the film’s title – was a hideout location during the Second World War, using the code name Castrum Peregrini. But the title is also appropriate for the period following the war, when a tightknit community was formed around Wolfgang Frommel, a period that knows many hidden stories. 

After the founding members of the community passed away, the current generation started anew. As they began cleaning up and refurbishing so that the house could be opened up tot he public, filmmaker Janina Pigaht wanted to capture the story of the house, while there are still people alive to talk about the first decades following the war. But is it actually possible to tell one story? How do you deal with memories of traumatic moments in the lives of a tight community? It should also be possible to discuss the ‘dark sides’ of the history of Castrum Peregrini. But how do you reach those stories as a filmmaker? And how do you deal with your history as an organisation, especially when parts of that history are problematic?

After the film screening Josien Pieterse, director of Framer Framed, will go into conversation with filmmaker Janina Pigaht and Lars Ebert of Castrum Peregrini.

Herengracht 401 is produced by ‘Een Van de Jongens’, and directed by Janina Pigaht. Length: 48’. Language: Dutch, with English subtitles. The conversation following the screening will be in Dutch.

Some Things Hidden is a group exhibition about hiding and the hidden, and about the politics of (in)visibility, that emerged out of a collaboration between Castrum Peregrini and Framer Framed. The exhibition is curated by Nina Folkersma and artist Charlott Markus.
The exhibition is currently on show at Framer Framed (til 11 Mar 2018), and was previously shown in a smaller, more performative version at Castrum Peregrini (18-26 Nov 2017).

Some Things Hidden!

Start date: 18/01/2018

End date: 11/03/2018

Location: Framer Framed

An exhibition realised in collaboration with Framer Framed

Some Things Hidden is a group exhibition about hiding and the hidden, and about the politics of (in)visibility, curated by Nina Folkersma and artist Charlott Markus. The exhibition – previously on show in a more performative, smaller version at Castrum Peregrini (18 – 26 Nov 2017) – consists of a carefully selected combination of existing and new works by upcoming and internationally renowned artists of different generations.

Hélène Amouzou Alexis Blake (US, 1981), Sara Blokland (NL, 1969), Zhana Ivanova (BG, 1977), Lynn Hershman Leeson (US, 1941), Bertien van Manen (NL, 1942), Charlott Markus (SE, 1974), Shana Moulton (US, 1976), Femmy Otten (NL, 1981), Marijn Ottenhof (NL, 1985), Cauleen Smith (US, 1967) and Batia Suter (CH, 1967).

The exhibition’s point of departure is artist Charlott Markus’ family history relating to her great aunt, a Jewish woman who managed to ‘hide’ during World War II in Berlin, while still partaking in public life – in a manner of speaking hiding in plain sight. At Castrum Peregrini, a former safehouse during the war, which is now a cultural institution, the exhibition was mainly centred on hiding as a way of staying alive. What does ‘hiding’ mean today? What threats do we have to hide from and what things do we hide from ourselves?

At Framer Framed, the focus is on the politics of (in)visibility. A status of (in)visibility is not neutral – so who decides what is and is not made visible in society? Which people, images, and habits are given visibility and in the process are considered ‘normal’? Who or what gets less prominence and as a consequence remains ‘hidden’? And which parts of our histories are/are not emphasized in our grander, national narratives?

The exhibition also addresses the importance of personal stories and strategies to combat this structural invisibility. Who are these ‘invisibles’ and are they truly invisible if defined as such? When can (in)visibility be considered a choice or a form of resistance?