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Exhibition Guide June 2017

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Exhibition Guide June 2017 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 Wendelien van Oldenborgh 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 Venice Biennale 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 4 2 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,
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