Visitors Guide June – August 2017 Program June — August 2017

Para | Fictions Daniel Dewar and Grégory Gicquel 14 April — 9 July 2017 Rayyane Tabet 21 July — 8 October 2017 GROUND FLOOR

Cinema Olanda: Platform A Program with and Lucy Cotter 17 June — 20 August 2017 SECOND FLOOR

Öğüt Macuga 17 June — 20 August 2017 8 September — 31 December 2017 THIRD FLOOR Director’s Welcome

What are the socio-political environments and On our third floor Goshka Macuga and Ahmet histories shaping the arts? How do they inform Öğüt engage in a dialogue on the possible artists and thinkers today? Further, how do they role of the critically engaged contemporary in turn, respond to and co-form such contexts? artist in relation to one another, and attempt Our institution continues to provide a space to formulate a methodology with which to for artists and thinkers to stage, question, generatively correlate their respective practices. and define, how their respective interests and With the first part steered this Summer by social concerns have taken, and take shape, in Öğüt (and second in Fall by Macuga), we look the present age of lost narrative. Through our forward to the unfolding of their processes on-going exhibition program and their agency, of examination and to the ways in which their we continue to circle our shared precious and on-going conversation, equally subject to precarious present and consider ‘now’ as a misinformation and misunderstanding, but period of continual transition and transforma- also trust, generosity and peer-to-peer play, tion toward a hopefully, better future. will be read in a ‘post- truth’ world.

With Cinema Olanda: Platform, Wendelien van Last but not least, on our ground floor, Oldenborgh opens up her work, which explores Para | Fictions continues to examine what is Dutch colonial histories as well as recent generated or lost in the slippages, trans- public debates around existing power structures lations, and activations between seemingly vis-à-vis the personal. Inviting collaborators to disparate fields: literature and contemporary present their manifold projects that activate art, with our latest commissions by Daniel neglected histories of activism(s) in the Nether- Dewar & Grégory Gicquel and Rayyane Tabet. lands and instigating new conversations, while continuing old ones, with and through Hoping we were able to pique your interest her cast, peers, and partnerships, she and with our thought-provoking program, we can’t curator Lucy Cotter, extend their presentation wait to see you back here again. at the Dutch pavilion at 57th to Rotterdam. Artists, writers, thinkers, and Defne Ayas activists have responded with a six-week pro- Rotterdam, May 2017 gram of talks, screenings, performances and events.

Spurred by conversations with these individuals and groups, we also embark on a number of initiatives, including an upcoming edition of Rotterdam Cultural Histories, which lays bare a history of Witte de With the figure, the street name, and naming of our institution; a first step in a longer and sustained trajectory of address- ing issues of representation within public institutions and Dutch society more broadly. Para | Fictions GROUND FLOOR

If both art and literature constitute forms of Daniel Dewar and Grégory Gicquel thought, what is generated or lost in slippages, THE NUDE AND THE SAP translations, and activations between the two? 14 April – 9 July 2017 Are their dividing lines arbitrary or highly The text Eupalinos, or the Architect by French dissoluble? How do both forms enfold and poet Paul Valéry, commissioned as an intro- unfold across the exhibition space? What duction to the first edition of the review relates making to writing, viewing to reading? Architectures (1921), runs in parallel to Daniel Dewar and Grégory Gicquel’s THE NUDE Para | Fictions is a cycle of sustained investi- AND THE SAP, an exhibition gathering existing gations running over a two-year period, and new works by the artist duo. Throughout taking these questions as its focus through the works on view runs an interest in the fluids the practice of nine artists. Previously, the (water, urine, sap, oil) that emerge from the series has included works by Calla Henkel materials used and the bodies that have had & Max Pitegoff, Oscar Santillan, Lucy Skaer, a hand in their shaping. Recurrent motifs Mark Geffriaud, and Laure Prouvost. such as vessels and containers – a vase, a pipe, a dresser – address the notion of negative space as a constructive element to all sculpture and pictorial surfaces.

UPCOMING Rayyane Tabet 21 July – 8 October 2017

Dineo Seshee Bopape 20 October – 31 December 2017 Rotterdam Cultural Histories FIRST FLOOR

Rotterdam Cultural Histories is a collaborative Rotterdam Cultural Histories #11: project between TENT and Witte de With Disclaim the street that explores our common roots in Rotterdam 1 June – 27 August 2017 and articulates meeting points between both TENT invited artist Navin Thakoer to curate of our programs. this presentation and present an image of the history of hip-hop culture in Rotterdam.

UPCOMING Rotterdam Cultural Histories #12: Witte de With: What’s in a Name? September – December 2017 Exhibition Floor Plan SECOND FLOOR

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1 3 5 Cinema Olanda: Platform A Program with Wendelien van Oldenborgh and Lucy Cotter

Programmers works by Van Oldenborgh, installed in an ASCA, University of Amsterdam (Patricia exhibition scenography designed to adapt Pisters, Esther Peeren), First Things First to the needs of each group. These works are (Katayoun Arian, Curator, Researcher, Writer; The Basis for a Song (2005), Maurits Script Louise Autar, Activist, Organiser; Max de (2006), Instruction (2009), and Supposing Ploeg, Activist, Cultural & Political I love you. And you also love me (2011). Programmer), Quinsy Gario (Artist, Poet), Each variously explores the clashes, confron- Charl Landvreugd (Artist, Curator, Writer), tations and histories of legitimated forms of New Urban Collective (Jessica de Abreu, social control such as colonialism and national- Mitchell Esajas) ism, and the interpersonal relationships between those grappling with and contesting Witte de With transforms into an adaptable these edifices. platform for groups and individuals who have informed Cinema Olanda, artist Wendelien In Van Oldenborghs’s work, architecture often van Oldenborgh and curator Lucy Cotter’s plays a central role, as embodying institutional presentation in the Dutch pavilion at the 57th and national narratives, providing a loaded Venice Biennale 2017. space for dialogue among the groups the artist brings together, and a choreography for Cinema Olanda: Platform ‘brings home’ the camera. The selection of films delineates Van Oldenborgh and Cotter’s collaborative the development of Van Oldenborgh’s tech- project and its underlying questions. The nique of ‘open production’, in which individuals project explores the Netherlands’ projection are brought together to discuss historical of an (inter)national image, articulated through sources and contemporary realities over the the architecture of the Dutch pavilion itself, course of the shoot. These encounters, and how this image conceals realities of the which mix scripted and improvised exchanges, Dutch cultural and political landscape. are then edited and remixed to create con- The pavilion was designed by Gerrit Rietveld tinuous narratives that are revelatory, politically in 1953, during the Postwar Reconstruction, charged, and often poetic. All of the works a time when the Netherlands was actively engage with the Dutch context, extending the forging a new modern image, and drawing on reflection on national narratives made manifest architecture to co-develop and manifest this. in the Venice exhibition.

Groups and individuals who participated in Van Oldenborgh’s two new films for Venice, Prologue: Squat/Anti-Squat (2016) and Cinema Olanda (2017), are among those invited to use Witte de With as a site for pro- duction and for sharing existing projects in the context of Rotterdam. This results in a series of changing presentations and six- week event program, presented alongside four PROGRAM For Cinema Olanda: Platform, Gario will record new episodes of ROET IN HET ETEN on Opening Weekend Tuesday 27 June and Saturday 1 July. Previous 16 – 18 June 2017 episodes will be screened in the exhibition. Talks, performances, and screenings, including Wendelien van Oldenborgh’s Prologue: Black Film Matters Squat/Anti-Squat (2016), on show in Venice. 3 – 9 July 2017 With contributions from Lucy Cotter (Curator, Black Film Matters is programmed by partici- Writer), E.C. Feiss (Critic, Writer), Patricia pants at the Amsterdam School for Cultural Kaersenhout (Artist), Juanita Lalji (Adult Analysis (ASCA), University of Amsterdam, Educator, Former Activist), Charl Landvreugd chaired by Patricia Pisters and Esther Peeren. (Artist, Curator, Writer), André Reeder The first session (4 July) focuses on the (Filmmaker, Former Activist), and Wendelien documentary Zwart Belicht (2008) by Tessa van Oldenborgh (Artist), a performance by Boerman, which zooms in on black figures in Addiction, and an architectural bike tour of (pre) 17th century Dutch and Flemish paintings. Pendrecht by OMI. In response to Zwart Belicht, Valika Smeulders (Researcher at KITLV/Royal Netherlands The Black Archives on Tour: Hidden Stories Institute of Southeast Asian and Caribbean of Black Resistance in the Netherlands Studies) will discuss with Boerman issues 19 – 25 June 2017 of representation, colonial history and art A week of talks, screenings and dialogues pro- historical canons. Performer Naomi Veldwijk grammed by New Urban Collective (Jessica de will read from Robin Coste Lewis’ collection Abreu, Mitchell Esajas) including sessions of poems, Voyage of the Sable Venus (2015). on the ‘Zwarte Piet’ issue (20 June), and hidden A second session (6 July) will focus on the histories of black resistance and radical black work of the Surinamese-Dutch poet and author intellectuals (24 June) with a talk by Dr Kehinde Edgar Cairo, with a discussion led by Charl Andrews (Associate Professor in Sociology, Landvreugd (Artist, Curator, Writer) and Cindy Birmingham University), and exploration Kerseborn (Filmmaker) on the importance of of Surinamese black emancipation movements Cairo’s work, alongside the screening of parts such as LOSON/SAWO by André Reeder of Kerseborn’s documentary Edgar Cairo: (Filmmaker) and Ernestine Comvalius (Director, Ik ga dood om jullie hoofd (2011). Bijlmerparktheater and Theater Crater). A live archiving of a major new acquisition will Decolonial Options: Imagining the futurity be included in the exhibition. of decolonial practice 10 – 16 July 2017 ROET IN HET ETEN This week-long program by First Things First 26 June – 2 July 2017 aims to critically investigate and discuss the Through the format of the talkshow, Quinsy coloniality of Dutch Society and beyond. During Gario (Artist, Poet) aims to provide insights and this week, we will approach this vast subject perspectives with which to enrich the public through five stages of awareness, as formulated debate in the Netherlands. Initiated in 2012 as by artist and writer Grada Kilomba in her a show on the multicultural Amsterdam-based book Plantation Memories (2008). Through radio station MART Radio, two years later it her art and writing, Kilomba uses the con- became a television talkshow on the Caribbean cepts of Denial, Guilt, Shame, Recognition and and South American centered cable channel Reparation as tools to understand and over- RTV-7 and YouTube. The talkshow has been come the different, and simultaneously existing, recorded at the Hugo Olijfveldhuis, which is dimensions of colonial power structures. owned by the Society Our Suriname. By adopting these stages of awareness in our community-led program, we aspire to bridge ONGOING PRESENTATIONS the gap between different groups and com- munities for building solidarity, strength, 1 empowerment and raising consciousness and The Basis for a Song, 2005 awareness. Decolonial Options: The Futurity 24 minutes of Decolonial Practice operates as an invita- “They say: be what you are and stay where tion to consider the ways in which we can break you’re at.” out of the colonial mould of being, knowledge and power. Our week-long program will be Returning to Witte de With once more, having concluded with the performance ILLUSIONS, been originally commissioned for the exhibi- by Grada Kilomba herself. tion Be what you want but stay where you are (2005), curated by Ruth Noack and Roger First Things First consists of Katayoun Arian Buergel, this work, an analogue slide installa- (Curator, Researcher, Writer), Louise Autar tion with sound, was filmed in one day in a (Activist and Organizer), and Max de Ploeg sound studio in Rotterdam. It addresses the (Activist, Political / Cultural Programmer). mechanisms of toleration and rapid integration, to be observed for example in the Netherlands, Holland Mijn Mars whereby conflictual relations are avoided and 17 – 23 July 2017 energy is sucked out of common forms of An audiovisual installation based on four stories resistance or even civic responsibility. Two Hip from Suriname, Canada and the Netherlands, Hop artists, Milford Kendall (aka Scep) and along with a performance to review migration Romeo K. Gambier (aka Mixmaster Fader), across the axis of sexuality, by Charl Landvreugd spend the day writing and recording their songs. (Artist, Curator, Writer). The first story that This ‘song’ appears through stories, which makes up the basis for this installation and link the present to a significant period in the performance is Kon Hesi Baka (1976) by Henk recent history of their city Rotterdam, where in Barnard, which deals with migration from the late 70’s, early 80’s, rebellious squatting the perspective of a young girl in Suriname and punk movements developed a visible form around the time of the country’s independence. of ‘acting differently’, which was tolerated The second is Koewatra Djodjo (1979) by Edgar and even integrated into local policy. The 70’s Cairo, which gives an insight into a young also saw a significant numberof immigrants man’s arrival in the city. How to make love to arrive in Rotterdam, and a ‘city renewal’ project a negro without getting tired (1987) by Dany that reshaped large parts of the inner city. Laferrière speaks about trying to settle in Today the occupation of space is more economi- the metropolis. Wan Pipel (1976) by Pim de la cally driven and therefore much more her- Parra delves into disillusionment, loyalty metic. Instead of the punk of the earlier days, and belonging. The combined texts create a one of the local modes in music production narrative of migration, and show the timeless- is now Hip Hop, which has a Do-It-Yourself ness of the subject. approach and works with free associative patterns. The two voices from the Rotterdam Hip Hop scene in 2005 are of Surinamese descent, and their own stories quietly take their space between the outspoken issues.

With: Milford Kendall (aka Scep), Romeo K. Gambier (aka Mixmaster Fader), together with Winston Belliot, Gio Doemoeng, Herman Helle, Viola van Oostrom, Sophia Prinz, Carlijn Stevens 2 to the event. They play with their awareness Maurits Script, 2006 of the camera, the audience and the passersby. 38 and 29 minutes The point is not to direct the situation, but to The film takes the Dutch colonial past in north- direct oneself within it – a process that can be east Brazil as a starting point; a history that induced, but not controlled.’ is frequently overlooked in the Netherlands. Van Oldenborgh constructed a script around With: Anthony Clarke, Mario Campanella, the figure of Johan Maurits van Nassau, the Romeo K. Gambier, Charl Landvreugd, Dutch governor in Brazil from 1637 to 1644, who Eunice Landvreugd, Cristiane de Morais Smith, is highly regarded by the Dutch as an early Peter Olsthoorn, Nienke Terpsma, Alexander humanist ruler. Compiled from sources ranging Vollebregt from personal letters to political council minutes, the resulting script paints a complex 3 portrait of the conflicts of the time, including Instruction, 2009 tensions between Portuguese and Dutch 31 minutes colonizers, and the less recognized aspects of “The past is never dead. It’s not even past.” Maurits’s governance, such as his treatment of slaves and the indigenous population. The film Instruction taps into an unresolved As Van Oldenborgh would later describe, episode of Dutch military intervention in ‘The reading of the historical words opens up Indonesia after the end of World War II, a space for other voices, the voices that perhaps euphemistically called a “police action”, did not write history.’ which resulted in the deaths of thousands of Indonesians. The film features a group of Filming at a one-day public event in the opulent young cadets from the Royal Netherlands Golden Room of the Mauritshuis museum Military Academy, Breda reading out and (Maurits’s former residence in The Hague), discussing a number of scripts collated from Van Oldenborgh cast a group of participants, archives; a personal travelogue, broadcast each of whom has a different personal rela- transcripts, and essays. tionship to the issues raised in the script. On one side of the room the actors individually Instruction questions the agency of each read their lines before a single, unmoving individual within a larger political framework, camera, while on the other side the remaining and in a different political and social environ- actors engage in an ongoing conversation ment, in a condition where the individual is around a table. In the discussion they address malleable and even vulnerable, but still under the legacies of colonial histories within con- the charge of ethical responsibility. How far temporary Dutch society, in particular in does your moral framework shift under pressure relation to citizenship and multiculturalism, of war and violence, and far from home? As at times revealing conflicting viewpoints. the cadets ventriloquize the voices of others, Throughout the day the conversation takes on they become actively involved in occupying a momentum of its own, spreading to involve different subjective positions, both defensible the camera crew and the audience. and indefensible. The film performs an instruc- tive function but maintains a certain ambiguity As Van Oldenborgh reflects: ‘The audience that leaves open questions for a public discus- becomes part of the performance, and the sion yet to come. performers, viewers and listeners as well as actors. Their willingness and interest to Architecture once more plays a central part to engage in reading the given roles and in the the film, as the camera and participants pace act of conversation [gives] life and directness through the Academy, housed in the Castle of Breda, whose halls and staircases provide 5 a literal link to the past. The film is accompa- Black Archives nied by two photographs from the artist’s A recent and substantial donation of books personal archive. to the Black Archives by Frits Corten, a Rotterdam resident and active as part of the With: Joske, Lisette, Thomas and Bas; Society Our Suriname (VOS), is shown at second year students of the Netherlands Witte de With. These will begin to be formally Defense Academy archived by New Urban Collective (NUC) on a daily basis throughout the course of Cinema 4 Olanda: Platform. Supposing I love you. And you also love me, 2011, 13 minutes The archives testify to the hidden history of “What is the building, and what are you the African and Surinamese diaspora in the doing there?” Netherlands. Based on this unique collection, “Just talking.” the NUC aims to investigate, reveal and narrate new stories that can contribute to a better The film, composed of still photography, brings understanding of the historical contributions the voice of philosopher and theologian Tariq of people of African origin to human civilization Ramadan into exchange with a group of and to Dutch society in particular. These five young adults of multicultural origin from stories also provide insight and tools to combat Belgium and the Netherlands. Against the contemporary social issues such as structural backdrop of a De Stijl-inspired broadcast inequality, discrimination and racism against building designed by Piet Elling, Dutch archi- people of African origin and other populations. tect and friend of Gerrit Rietveld, the work is set up as a polyphonic mini-tragedy, In January 2016, the New Urban Collective’s following Ramadan’s exploration of Nietzsche’s book collection – which contains more than description of tragedy as “to be alone and 2000 books from the collection of sociologist individual … to face your destiny and your fate Waldo Heilbron (1936–2009) and the personal without having an answer”. Unrehearsed book collection of revolutionary intellectual forms of performance and speech, stemming Otto Huiswoud (1893–1961) – was moved to from private experience, form the building the historic ‘Hugo Olijfveldhuis’ in Amsterdam, blocks of the “drama”. a property owned by VOS. Formed in 1919, the VOS was one of the first self-organized Ramadan has a specific relationship to migrant groups in the Netherlands, and it has Rotterdam. He was appointed in 2007 to the gathered an exceptional collection of rare Erasmus University as Chair for Identity and books, unique documents, and objects. The Citizenship and acted as an integration advisor NUC is currently collaborating with the VOS to the city. His appointment was short lived, to organize its 100 year old archive, with the after only two years he was controversially aim of making these collections accessible fired for hosting a program on Iran’s Press TV. to the public by creating an educational and cultural center called “The Black Archives”, With: Tariq Ramadan (Professor of Contem- where educational, cultural and social activities porary Islamic Studies at Oxford University); will be organized around the collection. Hanane Driouchgril, Alberto Mvila, Annye de Santos, Janne van Eynde, all pupils at the Koninklijk Technisch Atheneum (Royal Technical Atheneum) in Mechelen and Ahmed Chouyouhi Gina Lafour and Quinsy Gario in Prologue: Squat/Anti-Squat, 2016 by Wendelien van Oldenborgh. Film installation in two parts, 17 minutes each. Courtesy Wilfried Lentz Rotterdam and the artist.

Exhibition Floor Plan THIRD FLOOR

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4 3 6 9 Öğüt Macuga

This exhibition is the result of Witte de With directed his energy towards photography after director Defne Ayas’ pairing of two critically deciding, in 1962, that everything had already engaged artists, Goshka Macuga and Ahmet been the subject of drawing or painting. Öğüt. Both artists’ interests are tied to political His home-made cameras, constructed from and historical contexts, distilled through a basic materials such as cardboard tubes, variety of media and strategies of representa- tin cans and improvised lenses allowed him tion that include performance, participatory to create countless photographs of the women event, sculpture, film, and installation. Macuga in his hometown, Kyjov. and Öğüt began a conversation, and through a series of coincidences identified parallel Curator Harald Szeemann was introduced to references drawn from their shared social con- Tichý’s work by Roman Buxbaum, Tichý’s cerns, personal stories, and the ideas driving friend and neighbor who, over the course of their respective practices, such as their mutual several years, had been collecting the artists’ investment in collaboration and interest in the work. In 2004, Tichý was included in The Seville representation of critical thinkers in the global Biennial by Szeemann, having been previously imaginary. Such references mark the point of unknown as a photographer. This was to be departure for a two-part exhibition – the first followed by a series of high profile exhibitions steered by Ahmet Öğüt (17 June – 20 August), that have established international recognition with the second part to follow in Fall with for Tichý. Roman Buxbaum obtained most of Goshka Macuga (8 September – 31 December). the artist’s works when the artist died in 2011. Both artists examine each other’s practices, a process subject to misinformation and mis- 2 understandings along the way, as much as a Goshka Macuga, Colin Powell, 2011, generosity of ideas, commitment of time, and bronze cast, 55 × 85 × 58 cm peer-to-peer play. Goshka Macuga’s exhibition The Nature of the Beast at the Whitechapel Gallery in London 1 (2009), comprised individual elements, includ- Miroslav Tichý, untitled, date unknown, ing the original Rockefeller-commissioned gelatin silver print mounted on cardboard, Guernica tapestry from the UN, shown against 26.3 × 17.7 cm the UN headquarters blue curtain. Together Miroslav Tichý, untitled, date unknown, these elements referenced the history of gelatin silver print mounted on cardboard, Picasso’s iconic Guernica painting, the institu- 19.5 × 26.5 cm tional context of the gallery, and contempo- Shown here are two original Tichý photographs, rary politics of war. Alongside the tapestry, both from Öğüt’s and Macuga’s respective Macuga exhibited a bronze bust of former US personal collections. The accompanying docu- Secretary of State Colin Powell, conjuring ments tell the story of how both artists came up the moment in 2003 when the UN Guernica into contact with Tichý’s prints. was perceived as a potential deterrent to military action, due to its inherent anti-war The Czech photographer Miroslav Tichý symbolism. To enable Powell to deliver his (1926–2011) began his career as a painter, but speech on the alleged production of weapons of mass destruction in Iraq, it was covered up leading cultural and historical figures. The set with a blue curtain. Through The Nature of of vases, including one representing Karl Marx, the Beast, Macuga aligns forms of conflict was displayed in a large concrete structure seemingly far in time yet pointing to the human resembling a pavilion designed to house destructive impulse that ignores the lessons meetings and discussions surrounding issues of history. Goshka Macuga chose to make of political participation under the title Inter- her sculpture Colin Powell in a cubist style to national Institute of Intellectual Co-operation, formally represent the collapse of Powell’s making this work a gesture towards an imaginary moral authority. The sculpture is shown here realization of the original institute’s intents. tipped over against the wall, again an inter- vention by Ahmet Öğüt. 4 Ahmet Öğüt, Anti-Debt Monolith, 2014 3 coin operated sound sculpture Goshka Macuga, Karl Marx, 2016, Goshka Macuga, In Debt View, 2015 Parian ware, 28 × 30 × 35 cm coin operated telescope Ahmet Öğüt, Where is Karl Marx?, 2016, Day After Debt is Öğüt’s response to the Will Lammert’s Karl Marx bronze cast (1953), increase in student loans and subsequent debt wooden pallet, dust, 96 × 85 cm that has grown around higher education in During the GDR, a bust of communist theorist the US and the United Kingdom. Over the past Karl Marx was situated in the senate’s room years, Öğüt collaborated with many artists at the Humboldt University in Berlin, where including Macuga to produce specially com- Marx was formerly a student. Later on, it was missioned sculptures that allow the collection moved to the University’s basement, banished of funds to repay student debts. Öğüt’s coin from public display: unseen, gathering dust. operated Anti-Debt Monolith is a steel minimal With Where is Karl Marx?, Öğüt set out to work referencing the fictional advanced arti- make the bust accessible to the public on the facts of non-human origin built by an unseen university premises, displaying it on the very extraterrestrial species that appear in Stanley pallet upon which the head rested for more Kubrick’s 2001: A Space Odyssey (1968). In than 26 years in the University’s basement. the event a visitor inserts a coin and thus Both the pallet and the built-up layers of dust donates to the cause, the work responds with came to be part of the work, calling for a re- an audio recording on the growth of student newed discourse of Marx’s theories and legacy, debt in the past decade. Macuga’s contribution while broaching issues of remembrance politics. In Debt View consists of a modified coin- operated telescope. As part of the project, in As the European Union reels from the result collaboration with a lawyer, Öğüt developed of the UK referendum, potentially resulting a Letter of Agreement between the artists in the UK’s exit from the EU, we again face and potential future owners to raise funds for significant world problems that require a greater the Debt Collective. diversity of expertise than is offered by cur- rent political agents, structures and agendas. 5 Aspiring to reinvigorate the idea and ethos Dark matter remains one of the great myster- of the International Institute of Intellectual ies of science. Already in the 1930s, Swiss Co-operation – founded in 1926 as an advisory astronomer Fritz Zwicky used the term to body for the League of Nations, which aimed acknowledge that there was more mass in the to promote intellectual exchange between objects he was observing than could be seen. international scientists, researchers, teachers, Indeed, dark matter remains an invisible force artists and other cultural figures – Macuga that can only be accessed in theory. created a series of vases using the heads of Over the course of two years, Macuga visited 7 the European Organization for Nuclear Ahmet Öğüt, Let’s imagine you steal this Research (CERN) where she conducted inter- poster, 2016, print on paper, 84.1 × 59.4 cm views with scientists as part of her ongoing Let’s imagine you steal this poster, a portrait investigation into different modes of research of political activist, academic, and author and collaboration. It was at CERN that Angela Davis, marks Öğüt’s reaction against Macuga first met Prof. Bilge Demirköz, before the gender-disproportionate number of later introducing Öğüt to her. In this optically male portraits in the Humboldt University’s distorted, spatially warped room, a recorded collection, the institution from which Davis conversation between Öğüt and particle received her honorary Ph.D. The poster closely physicist Prof. Bilge Demirköz can be heard. resembles those portraits dedicated to the university’s Nobel prize winning alumni and 6 staff displayed in the main building’s foyer. Ahmet Öğüt, Information Power to the People, On the one hand, Öğüt seeks to make a case 2017, bronze cast, dimensions variable for questioning the conventional parameters Computer genius, programming prodigy, and of public approval, while on the other criticiz- information activist, Aaron Swartz (1986–2013), ing male dominance embedded within our was just fourteen when he developed the RSS surroundings. As with Where is Karl Marx?, (Really Simple Syndication) software. At fifteen Let’s imagine you steal this poster demands a he helped Internet law specialist Lawrence candid examination of institutional history. Lessig to develop the code for Creative Com- University officials refused Öğüt’s initial plans mons, and at nineteen he co-developed the to create and insert Angela Davis’ portrait as social-networking site Reddit. Taking leave from part of the prestigious gallery. As a response Reddit at twenty, Swartz sought to protect to this, Öğüt leaves visitors with a call to freedom of information within the Internet, action: hijack her portrait and exchange one investing himself in political activism. This direc- of the Nobel laureates’ for hers. tion led to his arrest in 2011, on account of downloading millions of articles from the aca- 8 demic research database Jstor. Swartz com- Goshka Macuga, Wax Cast Series: mitted suicide in the midst of his prosecution. Madame Blavatsky, Olympe de Gouges, His case raised questions of authorship, owner- Pussy Riot, Guerilla Girls, Ada Lovelace, ship and: is downloading necessarily theft? Mary Shelley, Donna Haraway, 2015, When Anonymous hacked the State Department wax casts, 30 × 20 × 30 cm each website of the US government on February In dialogue with Angela Davis, as brought 17th 2013, they declared “Aaron Swartz this is forth by Öğüt, stands a series of plaster heads for you”. Öğüt’s Information Power to the People of female icons, created by Goshka Macuga. shows a bust of Aaron Swartz suspended Writer and activist Olympe de Gouges, who above a classical plinth. Held by a crane, Swartz authored the Declaration of the Rights of is frozen ambiguously between the moment Woman and the Female Citizen in 1791, expos- of the bust’s placement or removal. ing the failures of the French revolution in the recognition of gender equality; novelist Aaron Swartz also features in several of the Mary Shelley, who authored Frankenstein; the sculptures in Macuga’s series International occultist and co-founder of the Theosophical Institute of Intellectual Co-operation, Society Helena Blavatsky; mathematician representing a key figure in the hypothetical Ada Lovelace, often cited as the first computer conversations around knowledge, information, programmer and author of the first published artificial memory, and the destructive nature algorithm tailored for implementation on a of humankind. computer; Russian protest punk band Pussy Riot known for their harsh critique on the Öğüt’s black and white flag reads ‘If you’d like Orthodox church and its support of Russian to see this flag in colors, burn it.’ Öğüt con- president Putin; Guerilla Girls, an anonymous fronts the symbolic status of the flag, the group of feminist and female artists con- reverence it induces, and questions why we fronting the ever occurring sexism and racism are drawn to protect it. The work is inspired within the art world; and feminist theorist by a conceptual postcard produced in 1967–69 Donna Haraway whose seminal A Cyborg by Dutch artist Marinus Boezem, which reads Manifesto (1984) criticizes conventional notions ‘If you’d like to see this photo in colors, burn it.’ of feminism, while encouraging instead coali- tion through affinity, and whose Staying with 10 the Trouble: Making Kin in the Chthulucene. Ahmet Öğüt, United, 2016–17, Experimental Futures (2016) continues to HD animation, ca. 3 minutes offer new ways to reconfigure our cross-species Öğüt created the animation United in memory relations with the earth and its inhabitants. of twenty-one year old protester Lee Han-yeol, who died in Seoul in 1987, and Enes Ata, a 9 six-year-old Kurdish boy who lost his life during Ahmet Öğüt, If You’d Like To See This Flag in protests in Diyarbakır, in Öğüt’s homeland Colors, Burn It (In Memory of Marinus Boezem), Turkey in 2006. This animation, in the style of 2017, polyester poplin fabric, 122 × 183 cm Korean comics manhwa, not only portrays the Goshka Macuga, Burned Guernica, 2015, stories of these two young boys that fell victim oil on canvas, 100 × 200 cm to state violence, struck with gas canisters Press photographs from the Vietnam war during civilian protests, but portrays them both and various protests and uprisings, as narrators, giving us tips on how to protect collection Goshka Macuga ourselves from tear gas. United was initially Pablo Picasso created Guernica during the produced in collaboration with JM Animation Spanish Civil war, within weeks of the bombing Studios, commissioned by the 11th Gwangju and the resultant deaths of hundreds of civil- Biennale. ians of the small Spanish town in Guernica in 1937, making it one of the most famous anti- In the same room, following an interest ex- war images of all times. On the wall of the pressed by Macuga, plays the closing scene of United Nations Building in New York city, at Michelangelo Antonioni’s 1970 filmZabriskie the entrance to the Security Council room, Point, in which an explosion of a mansion hangs a tapestry replica of Guernica, com- in the desert plays out from multiple angles, missioned in 1955 by Nelson Rockefeller, upon with various consumer objects such as a re- Picasso’s refusal to sell him the original. First frigerator, a filled book shelf, a rack of clothes displayed in 1985, the tapestry has been on view and a television exploding, with close-ups consistently with exception to its covering on propelling the viewer closer to the source of the eve of the Iraq invasion in 2003, where it ignition. In 2015, Macuga attempted to work was perceived to communicate a deterrent to with this footage much of which is currently war. In 2009, courtesy of Margaretta Rockefeller, deteriorating in Antonioni’s archive in Bologna. it was loaned to the Whitechapel Gallery for Her requests to work with this footage, Macuga’s exhibition The Nature of the Beast. perhaps one of the most memorable scenes Macuga returned to the Guernica image for about consumerism in movie history, were her recent exhibition at Fondazione Prada. refused by the film’s distributors. This work in progress was originally created to form part of a costume for her android work To the Son of Man Who Ate the Scroll, a work addressing a post-human future. PUBLIC PROGRAM

Exhibition readings For the duration of the exhibition, ‘guest readers’ are invited to interpret, critique, analyze, translate, and disrupt the very choices made in the exhibition.

Exhibition readers are: 30 June 2017, 6.30 pm by Sara van der Heide (Artist)

7 July 2017, 6.30 pm by Laurie Cluitmans (Writer)

28 July 2017, 6.30 pm by Binna Choi (Director Casco, Utrecht)

The exhibitions readings are open to all and free of charge. For dates and further information please check our website www.wdw.nl. Goshka Macuga, Karl Marx, 2016, Parian ware, 28 × 30 × 35 cm Biographies

PARA | FICTIONS Museo Marino Marini, Florence (2016); Wander- lust, The High Line, New York City (2016); Daniel Dewar (1976, UK) and Grégory Gicquel Not New Now: 6th Marrakech Biennial (2016); (1975, FR) first collaborated as students and New Skin, Aïshti Foundation, Beirut (2015); have been working together ever since. Their The Past The Present The Possible: 12th Sharjah iconoclastic work violates the pre-established Biennial (2015); This is the Time This is the codes of sculpture and features a continuous Record of the Time, Stedelijk Museum Bureau physical reengagement with materials and Amsterdam (2014), Un Nouveau Festival, processes through a hyperawareness sur- Centre Georges Pompidou, Paris (2014); Hiwar, rounding the craftsmanship and tradition of the Darat al Funun, Amman (2013); The Ungovern- medium, which expands its reach in the pro- ables, New Museum, New York (2012); and cess. The display of erudition and joyful anarchy Plot for a Biennial: 10th Sharjah Biennial (2011). is nicely offset by the many ways in which the He is the recipient of the DAAD Artist Resi- often used references glance back at the dency in 2016, the Abraaj Group Art Prize past, casting an ironic shadow on the present in 2013, the jury prize of the Future Generation tense in passing. Recent solo exhibitions Art Prize in 2012 and the Sharjah Biennial include Digitalis, KIOSK, Ghent (2016); Artist Prize in 2011. Stoneware Murals, Etablissement d’En Face, Brussels (2015); La jeune sculpture, Musée CINEMA OLANDA: PLATFORM Rodin, Paris (2014); Le Hall, Centre Pompidou, Paris (2013). Recent group exhibitions include The Amsterdam School for Cultural Analysis Pastoral Myths, La Loge, Brussels (2016); (ASCA) is located at the Faculty of Humanities Words aren’t the thing, CAC, Vilnius (2014); of the University of Amsterdam. This research Labour and Wait, Santa Barbara Museum of community is devoted to the comparative Art, California (2013); Conjuring for Beginners, and interdisciplinary study of culture, in all its Project Arts Centre, Dublin (2012); and forms and expressions, from a broad humanities Making is Thinking, Witte de With Center for perspective. ASCA is home to more than 110 Contemporary Art, Rotterdam (2011). In 2012 scholars and 120 PhD candidates active in film they won the Prix Marcel Duchamp. and media studies, literature, philosophy, visual culture, musicology, religious studies, Rayyane Tabet’s (1983, LBN) work explores theatre and performance studies. Specialists paradoxes in the built environment and its in their own respective fields, ASCA members history. His sculptures often reconstitute share a commitment to working within an the perception of physical and temporal dis- interdisciplinary framework and to maintaining tance. He received a Bachelor in Architecture a close connection with contemporary cultural from the Cooper Union and a Master in Fine and political debates. Within ASCA, they Arts from the University of California San collaborate to provide an innovative and stimu- Diego. His recent group and solo shows in- lating research environment for scholars, clude Faisons de l’inconnu un allié, Fondation professionals, and graduate students from the Lafayette, Paris (2016); Incerteza Viva, 32nd Netherlands and abroad. São Paulo Biennial (2016); La Mano de Dios, Lucy Cotter (1973, IE) is an independent curator ing discursive events, screenings, reading and writer on contemporary art whose work circles, and other forms of interdisciplinary engages with the interplay between aesthetics, and collaborative work. Recent curatorial the political and the unknown. Cotter has projects include I Speak in Tongues (37PK, worked in galleries and museums internation- 2017), Voices Outside the Echo Chamber ally, and, among other projects, was one of (Framer Framed, 2016) and The End of This three co-curators of Here as the Centre of Story (And the beginning of all Others) the World (2006–08), a global cultural exchange (Framer Framed, 2015). across six cities worldwide. A widely pub- lished writer, she is currently authoring two Louise Autar is an organizer and activist who books: Toward a Minor Curating on her curato- is currently predominantly involved with rial theories, and Art Knowledge: Between diversifying academia in Utrecht University. the Known and the Unknown, a reflection on In this light, she is also involved with the art and (non) knowledge. She holds a PhD preparation of the national student conference from the University of Amsterdam (2011) for on Diversity in Academia in the Netherlands. her research on rethinking (national) curatorial Her interests include decoloniality, displace- representation. Cotter directed the newly ment and material religion, especially in founded Master Artistic Research at the Royal Caribbean and Dutch contexts. She is cur- Academy of Art, The Hague (2010–15), where rently writing her thesis to complete the she developed an experimental curriculum Research Master Gender & Ethnicity. In addi- with an extensive exhibition and event pro- tion to being a member of First Things First, gram. Her edited volume Reclaiming Artistic she is currently helping the Sarnámihuis in Research is forthcoming with MaHKUscript The Hague with the preparation of the Indian and 17, Institute for Critical Studies, Mexico History Month. City in 2017. Max de Ploeg is an activist and organizer. He First Things First seeks to engage with was the founder and program co-coordinator decoloniality. Departing from actions and of the Decolonial School that took place discussions about the decolonization of between March and June 2016 in Amsterdam. higher education, the collective continues Since the Maagdenhuis occupation at the to challenge and raise awareness about the University of Amsterdam, early 2015, he has colonilaity of power, being and knowledge helped in setting up the Diversity Commission in different social domains of the Dutch at the University of Amsterdam and worked society and beyond. First Things First con- as an assistant and coordinator during the com- sists of Katayoun Arian (curator and writer), mission’s research. He has worked as a radio- Louise Autar (activist and organizer) and host and workshop-organizer, and has been Max de Ploeg (activist and political/cultural involved in setting up symposia, lectures, com- programmer). munity events and other collaborative pro- jects. Currently he is a political & cultural Katayoun Arian is a researcher, curator and programmer at Studio/K, a non-profit cultural writer with an interest in how we understand center. diversity and often misuse and neglect the reality and contradictions of displacement as Quinsy Gario (1984, CW) was born in Curaçao it connects to under-exposed histories and raised in St. Maarten and the Netherlands. and the (de)coloniality of knowledge, being He studied Theater, Film and Television and power. Her background in art history Studies at the Utrecht University with a focus and social science/anthropology coalesces in on Gender and Postcolonial Studies. He won projects ranging from exhibitions, to organis- the Hollandse Nieuwe 12 Theatermakers Prize 2011, the Issue Award 2014, the Amsterdam New Urban Collective (NUC) is an association Fringe Festival Silver Award 2015 and was a of students and young professionals with the finalist in the 2011 Dutch National Poetry Slam mission to empower young people with ethnic Championship. His most well-known work minority backgrounds. NUC aims to strengthen Zwarte Piet Is Racisme critiqued the general the position of these young people by stimu- knowledge surrounding the racist Dutch lating their personal development, raising their figure of Black Pete, which he followed up by self-awareness and advocating on their bringing out into the open the governmental behalf. They organize symposia, conferences, support that keeps the figure alive in the debates and mentoring programs in the area Netherlands. His latest focus is on state pro- of education, career, cultural diversity and tection of the marginalized and political resis- anti-racism. Programmers for NUC are Jessica tance as performance. He is a board member de Abreu and Mitchell Asajas. of de Appel Amsterdam, member of the pan-African artist collective State of L3 and Jessica de Abreu (1989, NL) graduated from a recurring participant of the Black Europe the department of Social and Cultural Body Politics biannual conference series. His Anthropology at VU University Amsterdam. work has been shown in Galleri Image, Aarhus; Her passionate commitment to the field of Museum van Hedendaagse Kunst Antwerpen; African Diaspora led to researches on upward Gallery 23 and Stedelijk Museum Bureau social mobility in New York, Amsterdam and Amsterdam. He has performed among other London. From a young age, she has been places in Stedelijk Museum Amsterdam; regularly involved (in filming) at various politi- Contact Theater, Manchester; Ballhaus cal, social and cultural organizations that Naunynstraße, Berlin; and The African Com- empower multicultural communities by creat- munity Center, Jerusalem. Currently he is ing self-awareness and encourage critical enrolled in the Master Artistic Research pro- thinking. She recently graduated from the gram at the Royal Academy of Art The Hague. department of Culture, Organization and Management at VU University Amsterdam, Charl Landvreugd (1971, SU) was born in where her research focused on social entre- Paramaribo, and grew up in Rotterdam. preneurship in Black British communities from He looks at the idea of Blackness as a political a postcolonial perspective. tool and is specifically interested in how Afro diversity works in the arts. He uses his under- Mitchell Esajas (1988, NL) is co-founder and standing of these mechanisms as a way to chairman of New Urban Collective, a network speak about our communal efforts to speak of students and young professionals from culture in contemporary continental European diverse backgrounds. He is a social entrepre- society. As an artist/researcher, Landvreugd neur involved in various community projects creates sculptures, installations, performances, in the areas of education, employment, diversity photographs, videos, texts and exhibitions. and sustainability. One of the projects is Since 2009, his work has been presented in The Black Archives, an archive in Amsterdam the US, UK, the Caribbean, Senegal, and the consisting of more than 3000 unique books, Netherlands. His work is published in magazines documents and artefacts about the black such as ARC, Small Axe, Open Arts Journal, presence and resistance in the Netherlands. and several catalogues. Landvreugd studied Mitchell studied Business Studies and Anthro- at Goldsmiths College, London and Columbia pology at the Vrije Universiteit Amsterdam. University in New York. He is currently a PhD He currently works part time as a study advisor candidate at the Royal College of Art in London. in Anthropology and program manager of the masters Medical Anthropology and Sociology at the University of Amsterdam. Wendelien van Oldenborgh (1962, NL) develops Patricia Pisters (1965, NL) is professor of film works for which the cinematic format is used at the Department of Media Studies of the as a methodology for production and as the University of Amsterdam and director of basic language for various forms of presenta- the Amsterdam School of Cultural Analysis tion. She often uses the format of a public (ASCA). She is one of the founding editors of film shoot, collaborating with participants in the Open Access journal Necsus: European different scenarios, to co-produce a script and Journal of Media Studies. She researches the orientate the work towards its final outcome. role of film and media in respect to collective Recent presentations include As for the future consciousness. Currently she is working on (2017) solo At DAAD gallery, Berlin; Prologue: a book project about the psychopathologies of Squat/Anti-Squat, The Jerusalem Show, contemporary media culture; and on a multi- Palestine Biennial East Jerusalem (2016); Form media project about filmmakers as metallurgist Left to Night (2015), solo at The Showroom and alchemist of our times. London; Beauty and the Right to the Ugly (2014) in Confessions of the Imperfect, ÖĞÜT MACUGA Van Abbemuseum, Eindhoven (2014). Van Oldenborgh has participated in School of Kyiv, Goshka Macuga’s practice typically applies Kyiv Biennial 2015, the Biennial of Kochi- in-depth historical and archival research to an Muziris 2014, the at the Venice interest in the evolving relationships among Biennial 2011, the 4th Moscow Biennial 2011, artists, institutions, politics, and communities. the 29th São Paulo Biennial 2010 and at the Her works investigate how art can be used to 11th Istanbul Biennial 2009, at the Oberhausen voice current concerns, rouse public debate, Short Film Festival 2010, Images festival and inspire social change. Throughout her Toronto 2010, and Berlinale Forum Expanded career, Macuga’s work has embraced diverse 2011 and 2013. More exhibitions include the mediums including sculpture, installation, Tate Liverpool; Generali Foundation, Vienna; architecture, and design. Among recent group Stedelijk Museum Amsterdam; Museum and solo shows are Goshka Macuga: Time as Sztuki, Lodz; Tranzitdisplay, Prague; Casco, Fabric, New Museum, New York (2016), To the Utrecht; and Muhka in Antwerp. She has won Son of Man Who Ate the Scroll, Fondazione the prestigious Dr A.H. Heineken Prize for Prada, Milan (2016); The Artist’s Museum, Art 2014 and is a member of the national Society ICA Boston (2016), and Accrochage, curated of Arts since 2015. by Caroline Bourgeois, Punta della Dogana, Venice (2016). In 2008 she was among the Esther Peeren is Associate Professor of four nominees for the British Turner Prize. Literary and Cultural Analysis at the University London-based, Macuga studied at Central Amsterdam. She is vice-director of the Saint Martins School of Art, and at Goldsmiths Amsterdam School for Cultural Analysis (ASCA) College, London. and the Amsterdam Centre for Globalisation Studies (ACGS). Recent publications include Ahmet Öğüt often collaborates with individuals The Spectral Metaphor: Living Ghosts and the whose expertise lies outside the field of art, Agency of Invisibility (Palgrave, 2014) and as well as other artists, to construct situations the edited volumes The Spectralities Reader: that bring about shifts in perspective on Ghosts and Haunting in Contemporary social and political issues. He is the initiator Cultural Theory (Blooms-bury, 2013, with of the Silent University (2012–ongoing), an María del Pilar Blanco) and Peripheral Visions autonomous knowledge exchange platform in the Globalizing Present: Space, Mobility, by refugees, asylum seekers and migrants. Aesthetics (Brill, 2016, with Hanneke Stuit and Öğüt was enrolled in the Rijksakademie van Astrid Van Weyenberg). Beeldende Kunsten in Amsterdam (2007–08). Among his recent and upcoming exhibitions are a solo show in Kunsthal Charlottenborg, Copenhagen (2018); Round-the-clock, ALT Bomonti, Istanbul (2016); and Studio Öğüt, Galerie Wedding, Berlin (2016). In 2016, he has participated in the 11th Gwangju Biennale and the British Art Show 8, Edinburgh, Norwich. Öğüt lives and works in Amsterdam. Colophon

Cinema Olanda: Platform Öğüt Macuga Wendelien van Oldenborgh 17 June – 20 August 2017 17 June – 20 August 2017 8 September – 31 December 2017 Team Lucy Cotter, Wendelien van Episode 1 steered by Ahmet Öğüt Oldenborgh, Defne Ayas, Natasha Hoare Episode 2 steered by Goshka Macuga Programmers ASCA, University of Amsterdam Exhibition Concept Defne Ayas (Patricia Pisters, Esther Peeren), First Things Team Defne Ayas, Samuel Saelemakers, First (Katayoun Arian, Louise Autar, Max Rosa de Graaf de Ploeg), Quinsy Gario, Charl Landvreugd, Lenders Humboldt-Universität Berlin; New Urban Collective (Jessica de Abreu, KOW Berlin; Goshka Macuga; Ahmet Öğüt; Mitchell Esajas) Galerie Rüdiger Schöttle

Cinema Olanda: Platform is conceived and Para | Fictions co-organized by artist Wendelien van 29 January 2016 – 31 December 2017 Oldenborgh and curator Lucy Cotter, together Team Defne Ayas, Patrick C. Haas, with Witte de With Director Defne Ayas, Natasha Hoare, Samuel Saelemakers and Curator Natasha Hoare, as well as the Amsterdam School for Cultural Analysis (ASCA), Rotterdam Cultural Histories is conceived University of Amsterdam. by Defne Ayas (Director Witte de With) and Mariette Dölle (former Artistic Director TENT). Cinema Olanda is the Dutch representation at the , commissioned and Visitors Guide financed by the Mondriaan Fund, a publicly Editors & Writers Defne Ayas, Lucy Cotter, financed foundation for visual arts and cultural Rosa de Graaf, Patrick C. Haas, heritage. Natasha Hoare, Samuel Saelemakers English copy-editors Rosa de Graaf, Cinema Olanda is partnered by the Amsterdam Natasha Hoare School for Cultural Analysis (ASCA), University Dutch copy-editors Milou van Lieshout, of Amsterdam; Akademie van Kunsten (KNAW); Sarah van Overeem-van der Tholen, Wilfried Lentz Gallery, Rotterdam; and Nuova Samuel Saelemakers Icona, Venice. De Groene Amsterdammer Translation (English – Dutch) is the media partner for the Cinema Olanda Milou van Lieshout, Samuel Saelemakers public program. Design APFEL, Kristin Metho Printer Raddraaier Cover image APFEL Funders Witte de With Staff

Para | Fictions is supported by AMMODO. Director Defne Ayas Deputy Director Paul van Gennip Öğüt Macuga is in part supported by Curators Natasha Hoare, Samuel Saelemakers Mondriaan Fund and SAHA Association. Associate Director, Education & Public Affairs Yoeri Meessen Business Coordinator Ahmet Öğüt’s Information Power to the Sarah van Overeem-van der Tholen People is co-produced with Kunsthal Curatorial Fellow 2017 Grégory Castéra Charlottenborg, Copenhagen. Assistant Curator Rosa de Graaf Associate Curator / Producer Patrick C. Haas Cinema Olanda: Platform is supported by Publications & Website Associate Mondriaan Fund; the City of Rotterdam; Maria-Louiza Ouranou Goethe Institut Rotterdam; Amsterdam School PR, Marketing & Communication Associate for Cultural Analysis (ASCA), University of Milou van Lieshout MarCom Officer / Director’s Office Angélique Kool Amsterdam. Office ManagerGerda Brust Events & Office AssistantEmmelie Mijs Witte de With Center for Contemporary Art Production OfficerWendy Bos is supported by the city of Rotterdam; and Education Assistant Docus van der Made the Ministry of Education, Culture and Science Website & Social Media Assistant Jeroen Lavèn (OCW). Library Assistant / Receptionist Erik Visser Receptionists / Office Assistants Francine van Blokland, Ella Broek, Erwin Nederhoff Senior Technical Supervisor line kramer Administration Suzan van Heck Interns Konstantinos Angelou, Matthias Nothnagel, Maria Pagkos

Chief Editors WdW Review Defne Ayas, Adam Kleinman Managing Editor WdW Review Orit Gat Installation Team Ties ten Bosch, Jonathan den Breejen, Carlo van Driel, Chris van Mulligen, Hans Tutert, Ruben van der Velde Reception Desk Elke van Waalwijk van Doorn, Remty Elenga, Rabin Huissen, Jasmijn Krol, Annelotte Vos, Gino van Weenen Art Mediators Femke Gerestein, Lisa Diederik, Hannah Kalverda, Germa Roos, Bram Verhoef, Gino van Weenen, Lesley Wynands Administration Frank van Balen Witte de With Board Kees Weeda (President), Stijn Huijts, Gabriel Lester, Jeroen Princen, Nathalie de Vries, Katarina Zdjelar Business Advice Chris de Jong Para | Fictions Daniel Dewar and Grégory Gicquel 14 April — 9 July 2017 Rayyane Tabet 21 July — 8 October 2017

Cinema Olanda: Platform A Program with Wendelien van Oldenborgh and Lucy Cotter 17 June — 20 August 2017

Öğüt Macuga 17 June — 20 August 2017 8 September — 31 December 2017

Witte de With For information: Center for Contemporary Art T +31 (0)10 411 01 44 Witte de Withstraat 50 F +31 (0)10 411 79 24 3012 BR Rotterdam [email protected] The Netherlands www.wdw.nl