Visitors guide Fall 2016 Program September 2016 — January 2017

Para | Fictions Lucy Skaer — One Remove 15 July — 2 October 2016 Mark Geffriaud — two thousand fifteen 14 October 2016 — 15 January 2017 GROUND FLOOR

In the Belly of the Whale 9 September — 31 December 2016 SECOND FLOOR

WDW25+ Kasper Bosmans — Decorations 9 September — 31 December 2016 Fabian Bechtle and Adriana Ramić — Rome Was Built For A Day 10 November — 31 December 2016 THIRD FLOOR Director’s Welcome

In an age of constant reformations, be they 10,000 Years of Nordic Folk Art, a project part aesthetic, political, ecological, and even of his Scandinavian Institute for Comparative spiritual, what is the responsibility of art Vandalism, which he founded as an inter- institutions? As such, can artists become disciplinary institute with the aim of ‘vandal- active co-creators of institutions, their politics, izing’ art history. Curated by Samuel and representations? This is a question both Saelemakers, Bosmans’ installation is part of artists and institutions such as ours must con- a year-long series of artistic and curatorial tinuously ask themselves. This Fall, we are approaches Witte de With has commissioned presenting a program exclusively proposed by as to not only engage with canonical moments our curatorial team as to proactively trigger in our own history, but also to provide a plat- dialogue through which to reflect upon the form for previously unacknowledged cultural projected role of artworks today as well as their histories and figures whose presentation would relevancy and links to the context in which loop back into and supplement our archive. they are conceived and presented. In November, we will also see interventions by artists Adriana Ramić and Fabian Bechtle, In the Belly of the Whale on our second floor both proposing access to the institution’s takes the story of Jonah and the whale as its inner life, as organized by Marie Egger, our departure point so as to investigate how art Curatorial Fellow 2016. works have been transformed through context, display, and inscription. With its investiga- All these projects hopefully will act as a hum- tions anchored through the work of three emi- ble reminder how artists are the ultimate nent scientists — physicist and meteorologist visionaries of (art) histories as well as their Charles Thomson Rees Wilson, psychologist immediate cultural and political contexts. Paul Ekman, and neurologist Jean-Martin Charcot — the exhibition, curated by Adam And last but not least, on our ground floor, Witte Kleinman and Natasha Hoare, positions con- de With continues its program of solo projects, temporary art works as phenomena that are under the rubric of Para | Fictions, in which able to trace shifts in social and political realities, Lucy Skaer instinctively and sensually responds and in turn shape them. to The Waves, one of Virginia Woolf’s most experimental novels, to be followed by a com- On our third floor, Witte de With continues to mission by Mark Geffriaud, whose departure confront its collection of traces from past points include narrative elements from Samuel decades of exhibition-making. Kasper Bosmans Beckett’s short novel Company. is invited to plunge and shred through Witte de With’s archives as to populate it with what With best wishes for the Fall! was never considered; in fact by looping in radical artist Asger Jorn’s photographic archive Defne Ayas Para | Fictions GROUND FLOOR

If both art and literature constitute forms of Lucy Skaer thought, what is generated or lost in slippages, One Remove translations, and activations between the two? 15 July – 2 October 2016 Are their dividing lines arbitrary or highly The Waves (1931) by Virginia Woolf trembles on dissoluble? How do both forms enfold and the borderline of ‘failing’ as a novel, whilst unfold across the exhibition space? What simultaneously obstinately insisting on its own relates making to writing, viewing to reading? textuality. In his 1931 review of The Waves one critic notes of Woolf, “In creating new forms, In January this year Witte de With launched she has found new materials to fit them.” Skaer Para | Fictions, a cycle of sustained investi- follows this thread in sculptural terms, using gations on its ground floor, which take these the carte blanche of fiction. Inlaid antique furni- questions as their focus through the practice ture, customised modernist tables and woven of six artists; Calla Henkel & Max Pitegoff, Berber carpets form a scene which is also Mark Geffriaud, Laure Prouvost, Oscar Santillan, a blockade or refusal of the exhibition space. and Lucy Skaer. Each project on display presents a different artistic methodology that traces each artist’s visual interests and literary Mark Geffriaud underpinnings to seek the viability of re- two thousand fifteen positioning ‘reference’ as ‘form’, ‘translation’ 14 October 2016 – 15 January 2017 as ‘co-authorship’. Geffriaud presents new work departing from the narrative elements deployed by Samuel The Para | Fictions series has been provoked Beckett in his short novel Company (1979). by the particular correspondences between Geffriaud uses projections, a voice-over and a literature and visual arts in contemporary revolving door to test and evoke the struc- culture; a landscape made up of disparate yet tural and durational characteristics of cinema relatable topographies of influence branching and literature. into fiction as a research methodology and theoretical discourse around the fictional nature of the contemporary itself. UPCOMING Laure Prouvost 27 January – 9 April 2017 Rotterdam Cultural Histories #9 Manifesta 1 Revisited FIRST FLOOR

Rotterdam Cultural Histories #9 revolves around outside their own countries for the first time Manifesta 1, the travelling European biennale in their career. In this archival presentation, that had its very first edition in Rotterdam from next to contributions by artists like Maria June to August 1996. Through never before Eichhorn (Germany), Ayşe Erkmen (Turkey), shown archival and video material, this edition Vadim Fishkin (Russia), IRWIN (Slovenia), and of Rotterdam Cultural Histories aims to shed Huang Yong Ping (/China), special some light on the coming about of the first attention is given to the work of Russian artist Manifesta Biennale and the artworks shown. Oleg Kulik and NEsTWORK, a Rotterdam based artist initiative. The biennale was an initiative by founding direc- tor Hedwig Fijen and Joop van Caldenborgh During Manifesta 1, Oleg Kulik performed (first chair of Manifesta Foundation), aiming to Pavlov’s Dog , now known as a key piece in create a format for a travelling art manifesta- his œuvre. For weeks Kulik took on the iden- tion based in local institutes in different cities tity of a dog, living 24 hours a day at V2_ every two years. Manifesta 1 was held in 16 art Institute for the Unstable Media while taking institutions and 36 public spaces in Rotterdam — intelligence and physical tests in a ‘labora- including Villa Alckmaer (the predecessor of tory’. NEsTWORK was an initiative by artist TENT), Witte de With Center for Contem- Jeanne van Heeswijk, set to give Manifesta porary Art, and V2_ — and was one of the first roots in the local art community. This diverse international biennales to advocate cooperation group of Rotterdam based artists created with local institutions and artists on such a eighty-seven daily programs with activities, large scale. Another remarkable part of performances, concerts, films, lectures and Manifesta 1 was the selection of not one, but debates at several locations in the city. five curators: Katalyn Neray (Hungary), Rosa Martinez (Spain), Viktor Misiano (Russia), Rotterdam Cultural Histories is a collaborative Hans-Ulrich Obrist (Switzerland), and Andrew project between TENT and Witte de With Renton (United Kingdom). Center for Contemporary Art that explores our common roots in Rotterdam and articulates The first edition of Manifesta focused on meeting points between both of our programs. subjects related to contemporary Europe, such Rotterdam Cultural Histories is conceived by as migration, translation and communication, Defne Ayas (Director of Witte de With) and community and politics. All the works dis- Mariette Dölle (former Artistic Director, TENT). played at Manifesta 1 were specially made for this edition and many of the participating artists, now world-renown, where exhibiting Exhibition Floor Plan

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CORRIDOR CORRIDOR

6 5 1 2 In the Belly of the Whale SECOND FLOOR

Drawing from the biblical story of Jonah and particularly through his use of photographic the Whale — in which the prophet’s resolve and taxonomies as a form of evidence. His findings message is galvanized whilst he meditates underpin contemporary facial recognition within the dark body of the great beast that techniques and research into micro-histories has swallowed him whole — this group exhibi- of photography that undermine the medium’s tion brings together artworks and objects to claim to objectivity. trace various transformations of meaning, reception, and use over time. In the Belly of Like fragments or links in a larger system, the the Whale plays content against its framing works collected here offer perspectives with to question both how an artifact references a which to bounce aesthetic concerns against given historical moment and how different the political environment in which they were modes and moments of display affect signifi- birthed or later received. Eschewing any neat cation. Or, to present these questions in an- synthesis, the show instead parallels the sense other way: do images and artifacts indicate of investigation from within. fixed meanings independent of their context, or are they inherently unstable, and tempered by situational and institutional inscription? PUBLIC PROGRAM Every contact leaves a trace: follow the… Foregrounding their conditions of presentation, Saturday 19 November 2016, 7 pm ownership, reception, and provenance, artworks, Learning from the means of the investigative artifacts, and their passage through time and journalist, the researcher, and the detective narrative discourses are played off the figure alike, this conference tracks the back-and-forth of the cloud chamber — an early twentieth circulation of objects and ideas through various century device that used water vapor to mark points of contact such as ownership, display, the movement of subatomic particles, and and use. The conference looks at how the which laid the ground for the study of particle exchange of goods and ideas can map relations, physics by photographing the patterns these hidden narratives, and other social and politi- movements produced. Likewise, the works cal formations both intrinsic and extrinsic to the exhibited are positioned as ‘objects’ caught in object itself. motion, images whose trajectories operate to articulate power structures, disrupt official histories, colonial legacies, and other forms of EXHIBITION READINGS epistemological violence. For the duration of the exhibition, ‘guest readers’ are invited to respond to the choices and Objects are not only molded by reality, they methodologies deployed in the exhibition. can actively produce new realities as well. A section of the exhibition seeks to address 9 September 2016: Aaron Schuster this ability, both through affect and scientific 21 October 2016: Maaike Lauwaert ideals of verifiability. Here the figure of Charcot, 18 November 2016: Aaron Peck a neuroscientist central to the pathologization 2 December 2016: Nicoline van Harskamp of hysteria as a medical category, looms large — Works

ROOM 1 traced the lines of occupation and demonstrated the radical potential of international museum Tania Bruguera loans. The painting is now inscribed with its Opening Session of the foundational process geographical passage, radicalized by the act of INSTAR Instituto de Artivism Hannah of movement encoded in its provenance. Arendt, 2015 How can we measure the affective potential Hamza Halloubi of an artwork? On May 20, 2015, as part of the Nature Morte, 2013 Havana Biennial, Cuban artist Tania Bruguera Nature Morte traces the response of artist staged a reading of Hannah Arendt’s The Origins Hamza Halloubi to the life and work of Italian of Totalitarianism. The date of the reading — painter Giorgio Morandi (1890–1964). The film Cuba’s Independence Day — was significant for juxtaposes Morandi’s still life paintings with it had not been officially celebrated since the images drawn from art history and events early 1960s (the celebration was shifted to during the part of the twentieth century July 26, a date marking the beginning of Fidel termed by Marxist historian Eric Hobsbawm Castro’s armed struggle against dictator as “the age of extremes”. The film questions Fulgencio Batista). Prohibited from performing the relationship between artists and the in public, Bruguera moved the reading session political realities in which they exist, and the into her home (which also houses Bruguera’s validity of the inscription of these works in Hannah Arendt International Institute of their times. The stillness of Morandi’s paintings Artivism) and installed loudspeakers pointing is read by Halloubi as a quality that imbues out to the street. The state responded by them with a resistance to time and history. dispatching a brigade of workers to drill along The film thus performs a paradoxical double- the length of Tejadillo Street to drown out bind of placing the painter’s work in a historical the performance. Bruguera was arrested and trajectory only to reassert its timelessness. freed shortly afterwards. Advancing American Art, 1946–47 Van Abbemuseum Eindhoven and Can a work’s reception radically alter it as an International Academy of Art Palestine (IAAP) art object? Advancing American Art was the Picasso to Palestine, 2011 title of an exhibition of paintings purchased In 2011, Buste de Femme (1943), a painting by and organized by the American State Depart- Pablo Picasso, made the journey from the Van ment Office of International Information and Abbemuseum in Eindhoven to the International Cultural Affairs in 1946. As an early example Academy of Art Palestine in Ramallah. Con- of the United States’ cultural diplomacy, the ceived by artist Khaled Hourani, the project show was intended to travel across Europe radically challenged the limits of museological and Latin America for five years promoting process, transforming a hypothetical and “the most advanced currents in America today”, potentially absurd idea into reality. Moving showcasing the creative and intellectual across olympian hurdles of transportation, freedom American artists enjoyed in a demo- insurance, and installation, crossing borders cratic society in order to counteract the steady permeable to goods, not people, each process encroachment of communism — here, the state explicitly attempted to mobilize art’s intrinsic the books, the names of their previous owners, affective potential. However, the seventy-nine notes in the margins — traces of their origins oil and thirty-eight watercolor paintings by and stark reminders of the assimilation of this artists including Stuart Davis, Marsden Hartley, body of knowledge by a colonizer. Their fate and Georgia O’Keeffe, engendered sharp and ultimate absorption or non-absorption criticism by traditionalist artists and conser- into the rest of the library is dictated by the vative Congressmen who judged modern appropriators. art to be subversive and informed by a leftist ideology. After the House Un-American ROOM 3 Activities Committee (HUAC) had eventually ascertained that twenty-four of the forty-seven Pratchaya Phinthong artists were associated with leftist political Broken Hill, 2013 activities, the then Secretary of State, George The Broken Hill skull is the first early human C. Marshall, recalled the exhibition in February fossil found in Africa and provided the primary 1947 — just one year after the initial purchase. evidence to support Darwin’s theory of evolu- tion, proposing humans as the natural descen- Käthe Kollwitz dants of primates. Discovered by Zambian Deutschlands Kinder hungern! miners in 1921, the skull was taken to (Germany’s children are starving!), 1923 by the British colonial authorities who later One image, two very different political destinies. sent a replica replacement back to the Museum In the early 1920s, Käthe Kollwitz created this of Natural History in Zambia. Here, Phinthong lithograph as an anti-war response to the presents a replica of the replica skull, staging plight of starvation-struck post-war Germany. another remove in provenance and authenticity, The image was used to create powerful posters deftly examining how histories are performed for various groups, including the Internationale through objects. Britain’s colonial legacy is Arbeiterhilfe (international workers’ welfare traced through the skull’s replica, symptomatic organization). A decade later the Nazi govern- of a power structure that worked both though ment appropriated it for propagandistic ends economic exploitation — the skull was found in claiming that it showed victims of communism. a British lead and zinc mine — and ownership of Paradoxically, at the same moment the govern- cultural narratives. Photographs document an ment forced Kollwitz to resign from her posi- exhibition of the work in a London gallery, where tion at the Prussian Academy of Arts (she was museum curator Kamfwa Chishaca from Zambia the first woman to hold a role there) and narrated the story of its removal. removed her works from museum collections. Adam Broomberg and Oliver Chanarin ROOM 2 Untitled (165 portraits with dodgers), 2012 Strip Test 1, To Photograph the Details Emily Jacir of a Dark Horse in Low Light, 2012 ex libris, 2010–12 “Nothing seems to escape representation ex libris commemorates the approximately when representation itself is represented.” thirty thousand books belonging to Palestinian — David Caroll, Paraesthetics: Foucault, homes, libraries, and institutions that were Lyotard, Derrida (1987) looted by Israeli authorities in the aftermath of the 1948 Palestine War. Six thousand of these What ostensible truth does photography books are kept and catalogued at the Jewish support and how do contemporary practices National and University Library in Jerusalem problematize these, especially within the under the designation ‘A.P.’ (Abandoned realm of ethnography? Untitled (165 portraits Property). Jacir photographed inscriptions in with dodgers) forms part of a body of work titled To Photograph the Details of a Dark sought to determine the origins of hysteria. Horse in Low Light, in which artists Adam Until the seventeenth century, the term hysteria Broomberg & Oliver Chanarin explore the (ancient Greek hystera; womb) had referred history of a Kodak film released in the 1980s to a mysterious disease that was generally that was unable to differentiate the tones believed to be specific to sexually inactive of darker skin — filmmaker Jean-Luc Godard women. At the Salpêtrière Hospital in Paris famously refused to use the film when on (also known as ‘Women’s Hell’ or ‘Second assignment in Zimbabwe claiming it was inher­ Bastille’), using controversial techniques such ently racist. It was only after the confectionary as hypnosis and magnets, Charcot examined and furniture industries complained that several ’hysterical’ women including a young the film could not capture their products that girl named Augustine. He documented, Kodak addressed the issue. Broomberg & sketched, and photographed the various stages Chanarin cite the influence of filmmaker Jean of her attacks: the epileptic phase, followed Rouch, whose technique of ‘shared anthro- by a state of buffoonery, in which she contorts pology’ refused to obscure the non-neutral her body, and the phase of ‘passionate posi- authorial status of the ethnographic director, tions’ in which Augustine rears up before foregrounding the entanglements of modes pausing in a prayer pose and talking nonsense. of representation in colonial discourse. Here Charcot used the photographs as evidence ‘dodgers’ block the faces of the portrait for the pathologization of hysteria. Conse- sitters as the darkroom technique of ‘dodging’, quently, and due to Charcot’s failure to recog- used to lighten areas of an image, is made nize subtle neurological disorders and other visible to render the subjects of the photo- medical conditions that actually gave rise to graphs at a remove. the alleged symptoms of ‘hysteria’, a massive inflation of the pseudo-diagnosis of ‘hysteria’ Jeremy Shaw occurred. Towards a Universal Pattern Recognition, 2016 Arms raised to the skies, mouth open in ecstasy: Paul Ekman Towards a Universal Pattern Recognition New Guinea Man Photo Set 2, 1971 depicts moments of religious rapture gathered Dr. Paul Ekman is a researcher and author from newspaper photo archives. Each image best known for furthering our understanding is diffracted through a prismatic lens of acrylic, of nonverbal behavior, encompassing facial summoning the kaleidoscopic vision of expressions and gestures. In 1967, Dr. Ekman psychedelic imagery from the 1960s, whilst traveled to Papua New Guinea to further study also suggesting a cold machine eye. Shaw the nonverbal behavior of the Fore people, speculates on the resistance of mining these an, as Ekman called it, “isolated, Stone Age sublime transportations by A.I. facial recogni- culture” located in the South East Highlands. tion systems that have quantified and com- His research provided the strongest evidence moditized our expressions. Is there something to date that Darwin, despite the counter claims intrinsic to transcendental states that refuse of Margaret Mead, was correct in claiming such quantification? facial expressions are universal. The collection of four black and white photographs shown CORRIDOR here depict tribesmen’s expressions of happi- ness, anger, disgust, and sadness. Jean-Martin Charcot What power do images wield and to what In addition to his scientific research, Dr. Ekman extent are they reliable for evidential purposes? is an advisor to Emotient Inc., a start-up In the nineteenth century, Jean-Martin recently bought by Apple that studies senti- Charcot — the ‘father of modern neurology’— ment analysis based on facial expressions so as to advance emotion-aware computing. a series of protests in the late 1970s and early Early maps of micro-expressions, which, in 1980s over the construction of a hydroelectric theory, give away signs of deception, were dam on the Alta River in Northern Norway. controversially adapted by the Unites States The power station pitted both environmental- Transportation Security Agency for their ists and the local indigenous Sami peoples Screening Passengers by Observation Tech- against the unilateral planning efforts of the niques program. Norwegian Parliament. In the fall of 1979, activists staged two conjoined acts of civil Charles Thomson Rees Wilson disobedience; a sit-in at the dam site itself Cloud Chamber Slides, 1911–13 was linked to a group of Sami hunger strikers Charles Thomson Rees Wilson was a Scottish outside the Parliament building in Oslo. The physicist and meteorologist who won the Nobel Crows revisits the dam-side occupation by Prize in 1927 for his invention of the cloud presenting a murder of crows morphing into chamber, a sealed environment containing a the policemen who confronted the protestors supersaturated vapor of water or alcohol. at the height of the controversy. Although Rees Wilson was inspired to create the chamber the dam was ultimately built, the Alta Conflict after becoming fascinated with the develop- placed both ecological and indigenous issues ment of clouds at an observatory on the sum- onto the national agenda. Thus the conflict mit of Ben Nevis, the highest mountain of culminated in various policy changes — such as Scotland. Initially, Wilson intended to study the Finnmark Act (2005), which transferred a cloud formation in general with the device; majority of the region’s land management to however, he observed that it could be used a local agency — while stoking concern for Sami as a particle detector — when microscopic heritage and their rights in general. Embroidered charged particles, such as alpha or beta par- at the height of the conflict,The Crows is both ticles, transit through the chamber ions an symbol of that particular struggle as well condense along the path and leave a visible as a reminder that the fight for greater Sami and trail that can be photographed and analyzed. indigenous representation still continues till What new readings of art objects open up this very day. when viewed in parallel to the cloud chamber’s process of tracking unseen phenomena? Mariana Castillo Deball El donde estoy va desapareciendo / ROOM 4 The where I am is vanishing, 2011 “I began to forget where I came from. My shapes Britta Marakatt-Labba went mute.” The Borgia Codex is one of the The Crows, 1981 few manuscripts from pre-Columbian times, “Since the end of the 70s I have been doing surviving both the Spanish invasion of Mexico narrative embroidery that depicts scenes and the destruction of the culture of the Aztecs. from everyday Sami life, political reflections, Rendered on animal skins folded into 39 sheets, stories of Sami culture and history and Sami it records rituals, divinations and weather mythological pictures. Embroidery work patterns. In El donde estoy va desapareciendo requires an aesthetic based on slowness. It is Mariana Castillo Deball creates a meta-version a journey in time and space in which every of the codex that tells the story of the object stitch breathes experiences and reflection, and itself, from the hunting and skinning of a deer, creates stories.” to its passing through various hands. A film — Britta Marakatt-Labba tracks over the artwork narrating how the object was brought to Europe to be stored for One of these stories is on view at Witte de several hundred years in the Vatican collec- With, namely, the history of the Alta Conflict, tion in Rome, before finally being identified by the Prussian scientist Alexander von Humboldt to envision an administrative seat for the newly in 1805. The objects’ odyssey is narrated in divided region. In addition to producing a the languages of its various owners, tracing a celebrated yet controversial plan, Le Corbusier history of the rise and fall of empires and colo- and Pierre Jeanneret, designed and built several nial powers through the possession of cul- structures including the city’s Capital Complex — tural heritage. Original drawings Deball made declared a UNESCO World Heritage Site this to create her own codex are also on display. July. Utopic in scope, the architects outfitted many of the buildings with original furnishings Minia Biabiany including tables, chairs, settees, desks, etc. the unity is submarine, 2015 Many of these pieces, however, have recently On June 22, 1962 Flight 117 crashed been acquired, crated, and sold by auction into a forested hillside in under houses the world over for commanding prices. suspicious circumstances. The investigation Charting the movement of several pieces, following the crash could not determine the the film begins in their new settings: lavish exact reason for the incident and proposed a New York City apartments, posh London combination of atmospheric disturbances townhouses, lux Belgian villas and the salons and various human errors as possible causes. of avid Parisian collectors. From here, All 113 passengers onboard died; among them Provenance tracks backwards through history was the poet Paul Niger (the pen name of documenting these items’ sale at auction, Albert Beville) and the politican Justin Catayée, their display at preview exhibitions and the two activists vital to independence move- related photography used for the auction ments against French colonial power. Artist catalogues, to their restoration, and shipment Minia Biabiany’s installation stages a mytho- form Indian ports — ending finally in Chandigarh, political retelling of this event and its obscured a city in a state of entropy. causes and consequences. Salted objects based on remnant plane wreckage from the On October 19, 2013, Provenance was auctioned crash site, as well as those based on plants in the Post-War & Contemporary art sale at cultivated in French colonies, cover the gallery Christie’s in London, turning the film into space. Biabiany plays on the paradoxical another object at auction, inseparable from the nature of salt as a material: both in its preser- market it depicts. Lot 248, a second film, cap- vative and corrosive properties. As parts of tures the auction of Provenance, becoming Flight 117 also fell into the sea and are buried a mirror of the first, repeating and completing therein, the unity is submarine evokes how the circuit of design and art that define spec- silenced or lost testimonies are unable to give ulative markets. Capping the installation is closure to the event, leaving it to linger on Proof (Christie’s 19 October, 2013), a facsimile of in our collective memories through doubt. the auction’s catalogue paper for Provenance, embedded and preserved in a Lucite frame. ROOM 5 ROOM 6 Amie Siegel Provenance, 2013; Lot 248, 2013; Susanne Kriemann Proof (Christie’s 19 October, 2013), 2013 Pechblende (Chapter 1), 2014–16 Provenance, a three-part installation, traces Highly radioactive and uranium rich, ‘pech- the global trade of furniture from the Indian blende’ or uranite, was relentlessly mined in planned city of Chandigarh, in reverse. the Ore Mountains of the former German Following the partition of India in 1947, the Democratic Republic between 1946 and 1989 then Prime Minister, Jawaharlal Nehru, to make yellow cake, ultimately facilitating commissioned several European Modernists nuclear armament in the USSR. Despite the toxicity of the mines, and the documented health threats to the miners who worked there, the landscape of the Ore Mountains has now been transformed into a tranquil mountain vista, with few recognizable traces of the still-radiating industrial worksites.

In Pechblende (Chapter 1) Kriemann incorpo- rates a range of objects lent by the Museum Uranbergbau Schlema, including tools, chains, and clothing, that together refer to the toxic history of uranium mining and its impact on the body of the miner. Illuminating these objects with an inverted camera obscura — the world is inside the box — Kriemann reflects on the artistic possibilities of making the invisible per- cievable, whilst also presenting objects whose presence evidences intangible traces of radioactivity. These mundane objects become political ones with the potential of transfor- mative affect in the nuclear arms and power debate. Old Witte de With archival boxes, 2016. Photography: Aad Hoogendoorn WDW25+ THIRD FLOOR

Organized with the particular question “What happens to art after an artist and an institution come into contact?”, WDW25+ sets a growing, living collection in motion; tracing contem- porary artistic practice through never before gathered in-house materials and their extend- ed networks at and around Witte de With. Building on its rich exhibition history, extended slowly through material contributions, the collection-in-the-making includes primary source material, such as sketches and drawings, from artists and in-house team members, curatorial correspondence, artists’ documents, as well as audio and video recordings of artist talks, lectures, and symposia.

As Witte de With confronts its collection of traces from past decades of exhibition-making, the center hosts a series of artistic and cura- torial approaches to source materials from institutional and personal archives. The com- missions in the series variously deconstruct and engage with canonical moments in our own history, and provide a platform for previously unacknowledged cultural histories and figures whose presentation will loop back into and supplement Witte de With’s archive. Exhibition Floor Plan

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1 – 10 Kasper Bosmans – Decorations 11 Fabian Bechtle and Adriana Ramić – Rome Was Built For A Day * Witte de With Archive / Workspace WDW25+ Commissions Decorations Kasper Bosmans

1. 2.–6. In his ongoing series of ‘legend’ paintings, “[…] the paintings were executed using the kind Kasper Bosmans subjectively gathers informa- of inexpensive techniques which ensure that tion to create painted circumscriptions that they will not remain in place for all eternity. In refer to what he calls specimens: intentional an epoch where the tendency is to preserve objects existing independently from the every streak of paint emanating from an officially paintings yet closely related to them. These recognized genius’s brush, like some priceless paintings can be considered visual, synthetic treasure, and where the painting-over of a wall sediments of conducted research and stand decoration which has started to bore us to as new points of orientation and reference in death is almost regarded as an act of barbarism, relation to the material they capture. this alternative viewpoint has great moral value.” — Asger Jorn, The Inherent Potential of Mural For Witte de With, Bosmans extends this series Painting, 1952 by painting legends to accompany both the new works on view as well as select projects For the five murals on view, Bosmans distilled a from the institution’s past that he closely number of overarching themes from Witte de relates to. Using the lids of archival boxes as With’s past program. These recurrent subjects — his canvas, Bosmans paints a visual encryption migration [2], sexuality [3], domesticity [4], of the material and narratives contained in urbanism [5], and ecology [6] — represent a sub- those boxes. As a long-term loan to Witte de jective reading of what is often perceived as With, the paintings are inserted in the very a canonical chain of exhibitions. Witte de materiality of the archive as a silent presence, With’s program tends to be classified as an only to be revealed to future researchers. Apollonian absolute, yet any processing of his- Acting as a sort of ex libris to the archive, these torical information will always remain a sub- works can have a lateral impact on the jective, or even subversive undertaking. Mytho- interpretation and disclosure of the archive. logical narratives or stories seemingly made up of indubitable facts are edited through a Although the archive interventions are not personal filter, thus countering the impulse to on view during regular exhibition hours, lock-down meaning. Opting for a more ab- these paintings are made public during the stract visual language, Bosmans’ murals turn artist talk on 18 October 2016. potentially heavy-handed topics into decora- tive, open-ended patterns. 2. The Strait of Gibraltar — also the leitmotif of After reading numerous descriptions and Yto Barrada’s exhibition A Life Full of Holes: accounts of art works shown at Witte de With The Strait Project (2004) — is evoked by paint- throughout the years, Bosmans was drawn to ing the official flags of both Gibraltar and those cases where works had been recreated Ceuta, on the African shore of the strait, or restaged for exhibition purposes, such onto two existing columns. In antiquity, this as for exhibitions like Hélio Oiticica (1992) and rocky gateway to Europe was also known as Paul Thek: The Wonderful World That Almost the Pillars of Hercules. Was (1995). 7. rather as the playful displacement and com- From the retrospective exhibition of Paul Thek’s pilation of signs and motifs. This creative oeuvre Bosmans boldly revives an element vandalism operated from within a philosophical from Thek’s installation Dwarf Parade Table framework based on the dialectic between (1969); a small dog figure with eggs for nipples. north (Scandinavian cultures) and south (Latin cultures), which manifested itself visually in 8. a dialogue between meaning and mannerism. This strand of pearls was made by Bosmans together with artist Marthe Ramm Fortun in 2014. The work is re-exhibited here as a nod PUBLICATION to Massimo Bartolini who in 2001 applied Kasper Bosmans began his research for pearls on every architectural edge of an entire Decorations with a close reading of 20+ Years exhibition space at Witte de With during Witte de With, an anthology published by the [squatters #2]. institution in 2012 that lists all exhibitions and other projects at Witte de With between 1990 9. and 2011. Bosmans made numerous annota- Vermicular rustication is a masonry technique tions, footnotes, scribbles and sketches in the that was popularized in Renaissance archi- margins across the pages. Adding his own tecture. Large stones used for the base layer remarks and critical notes, and inserting photo- of facades were chiseled in such a way they graphs from Asger Jorn’s 10,000 Years of Nordic seemed to have been worm-eaten. This tech- Folk Art collection, he opens up this well- nique not only allowed for these stones to edited historiography to new interpretations. be carved into another pattern later on, they also evoked the sense that the palazzi deco- rated with this technique stemmed from an old EVENT tradition, referring to the strongholds of Artist Talk medieval times. Simultaneously, the carved Tuesday 18 October 2016, 7 pm pattern also underlines the vanity of these For one night only, the legend paintings Kasper magnificent buildings, being eaten away at their Bosmans inserted into select archive boxes very foundation. are made visible to the public. Together with curator Samuel Saelemakers, the artist talks 10. about his process and research leading up to Prompted by the absence of folk art in Witte these and other new works on view. Bosmans de With’s exhibition history, Decorations also also discusses his artist publication Decorations, features photographs taken from artist Asger an annotated and re-illustrated version of Jorn’s archive 10,000 Years of Nordic Folk Art, the 20+ Years Witte de With book, originally a project that is part of his Scandinavian published in 2011. For this Zoë Gray (Senior Institute for Comparative Vandalism, founded Curator WIELS, Brussels), former Witte de in 1961 as an interdisciplinary institute aimed With curator and one of the original editors of at ‘vandalizing’ art history. The core objective the 20+ book, joins the conversation. of the Institute was the publication of a number of photographic picture-books on ancient and medieval folk art in Scandinavia. The only part of this project that was actually realized is a book on the influence of the visual language of the Nordic Bronze Age on twelfth century graffiti in Normandy churches. Jorn understood vandalism not as a destructive gesture but WDW25+ Commissions Rome Was Built For A Day Fabian Bechtle and Adriana Ramić

Rome Was Built For A Day sees the archive present, the camera pats down shelves, boxes through two commissions by Fabian Bechtle and items. The signatures of all directors of and Adriana Ramić. A proposal to bypass the institute are to set into motion an artistic, chronological investigations into history of discursive and administrative evolution of art and exhibitions, Witte de With’s in-house Witte de With. They are shown alongside in- materials are activated to yield various con- house materials, while the archival work on tributions on the third floor at the institute and the third floor continues. Presented on the in its digital channels. third floor, the exhibition also makes use of an earlier set-up. It was initially created by Emerging from a relationship with an artificial deputy director Paul van Gennip and artist neural network trained on Witte de With’s Pierre Bismuth for his solo show in 1997: digital archive of the past ten years, Adriana Special filters on the gallery windows retain Ramić presents a fictitious exhibition. Each transparency but allow for a view outside, piece responds to a text. The texts were com- while removing just enough light for a clear posed by a crude version of an autonomous video projection inside. brain — a program which is informed by the institution’s data itself. Seeking to perplex Rome Was Built For A Day is the title of a song anthropomorphism, Adriana Ramić’s exchange by Lawrence Weiner. It was released on a with machine learning employs a certain record Weiner produced with Ned Sublette brutalism of bureaucracy: it is regarding the in 1997. An mp3 version of this album is part process of exhibition making as an adminis- of former curator Juan Gaitán’s research files trative gesture through documents preserved in Witte de With’s digital archive. on the institute’s working server since 2006. This project is part of a long-term research by Adriana Ramić on the question of material- OPENING EVENT izing systems of cognition. Screening and Artist Talk Thursday 10 November 2016, 7 pm With an interest in the creation of memory Screening of : Constantin Brancusi Fabian Bechtle has frequently worked on (26 min) by Alain Fleischer (1944, FR) followed archives. His contribution proposes an obser- by an Artist Talk. vant perspective on the archive of Witte de With. Entering it like a scene both the out- ward set-up as well as its inner transformations were scanned: in the video, the exhibition space resembles its appearance to date, but also seems to document a different time — in the future or the past. With this proposal of temporality as a possibility, the archive is read as a sculpture in process, a temporary topography or architecture of memory. In order to capture what is yet invisible but Biographies

PARA | FICTIONS a Caribbean imaginary that questions reoccur- Mark Geffriaud’s (1977, FR) work alludes to the ring notions of interior and exterior. The mate- compartmentalized and arbitrary nature of riality and historical charge generate frag- institutional processes and cultural transmission. mented narratives that are constituted by the His pieces borrow elements from such entities relations between the elements involved in but their particular dynamic provokes cogni- her installations. Her work has been shown at tive processes that subvert them. The misunder- TEOR/éTica, San José Costa Rica; South standing, the shuffle, the lucid, the super- London Gallery, London; Cráter Invertido and position, these tropes are the critical tools Bikini Wax, Mexico city; S!GNAL, Malmö. In 2016, that the artist deposits in the hands of the she initiated the pedagogical and artistic pro- observer, championing a more lax understand- ject Semillero Caribe, an experimental seminar ing regarding the association of knowledge. based on exercises with the body and drawing Solo exhibitions of his work have taken place engaging with concepts of Caribbean thinkers. at The Kitchen, New York; Musée National du Jeu de Paume, Paris; and Palais de Tokyo, Adam Broomberg (1970, ZA) & Oliver Chanarin Paris. Group exhibitions include the Lyon (1971, UK) live and work in London. Tackling Biennial, France; de Appel, Amsterdam; Le politics, religion, war, and history, Broomberg Plateau, France; and Tate Modern, London. & Chanarin open the fault lines associated with such imagery, creating new responses Lucy Skaer’s (1975, UK) work often depicts and pathways toward an understanding of the relationships between abstraction and the human condition. Trained as photographers, direct material nature of objects. Many of they now work across diverse media, with her works refer to historic objects which are language and literature playing an important translated and re-contextualized in new role as material for their multifaceted work. mediums. Solo presentations include a mid- Together they have had numerous solo exhi- career retrospective at the Fruitmarket bitions including the Jumex Foundation, Gallery, Edinburgh; Murray Guy, New York; Mexico City; Fotomuseum, The Hague; and Tramway, ; Sculpture Center, New the Stedelijk Museum, Amsterdam. Their work York; Tulips & Roses, Brussels; Chisenhale is held in major public and private collections Gallery, London; and The Centre Pompidou, including Tate Modern, London; MoMA, New Paris. In 2003 Skaer was short-listed for the York; Stedelijk Museum, Amsterdam; the art prize Becks Futures and exhibited at Victoria & Albert Museum, London; the Inter- the first Scottish presentation at the Venice national Center of Photography, New York; Biennale, where she also showed in 2007. and the Art Gallery of Ontario. They have She was nominated for the in 2009. been awarded ICP’s Infinity Award (2014), and the Deutsche Börse Photography Prize (2013). IN THE BELLY OF THE WHALE Minia Biabiany’s (1988, GP) work derives from Tania Bruguera (1968, CU) researches ways in the intertwining of present colonial realities which art can be applied to the everyday and past memories, their poetics, and an political life; focusing on the transformation of observation of the exhibition space. She builds social affect into political effectiveness. Her long-term projects have been intensive inter- in developing modern science in the field of ventions on the institutional structure of col- neurology with fifteen nomenclatures to his lective memory, education and politics. She praise. His techniques, discoveries and passion was awarded an Honoris Causa by The School for the subject made the brain and the spinal of the Art Institute of Chicago and selected cord the epicenter of all medical innovations as one of the 100 Leading Global Thinkers by towards the early 19th century. Charcot devel- Foreign Policy magazine. In 2013 she was part oped a special interest for a “rare disease” of the team creating the first document on at the time, called hysteria, and developed the artistic freedom and cultural rights with the term for another condition, called multiple United Nation’s Human Rights Council. In sclerosis. Charcot’s employment of hypnosis 2014, she was detained and had her passport in an attempt to discover an organic basis for confiscated by the Cuban government for hysteria stimulated Sigmund Freud’s interest attempting to stage a performance about free in the psychological origins of neurosis. Charcot speech in Havana’s Revolution Square. She was affiliated to the University of Paris (1860– had planned to set up a microphone and invite 93) where he began a lifelong association with people to express their visions for Cuba. In the Salpêtrière Hospital (Paris) in 1862, and May 2015, she opened the Institute of Artivism influenced many medical enthusiasts all over Hannah Arendt, in Havana. Her work was exhi- the world. His students included names such bited at Documenta 11, Venice Biennale, Tate as Sigmund Freud, Alfred Binet, Pierre Janet, Modern, the Guggenheim Museum, and and Georges Gilles de la Tourette. Van Abbemuseum, among others. She lives and works in New York and Havana. Paul Ekman (1934, US) is an eminent psycholo- gist and co-discoverer of micro expressions. Mariana Castillo Deball (1975, MX) lives and His research focuses on non-verbal behavior, works in Berlin. Working in installation, facial expressions and gestures. He discovered sculpture, photography and drawing, Deball that facial expressions of emotions are cross- explores the role objects play in our under- culturally universal. He proved that they are standing of identity and history. She takes a biologically determined, as claimed by Darwin, kaleidoscopic approach to her work, creating rather than culturally. He developed the rich and resonant images that arise from the Facial Action Coding System (FACS), a tool for collision and recombination of these different measuring and identifying facial expressions. languages. Deball holds an MA in Fine Art Ekman holds a PhD in clinical psychology which from the Universidad Nacional Autónoma de he got from the Adelphi University. After an México, Mexico City and completed a post- internship at the Langley Porter Neuropsychia- graduate program at the Van Eyck Academie tric Institute, he became a First Lieutenant and in Maastricht. She has presented her work chief psychologist at Fort Dix. In 1972 Ekman internationally at amongst others MoMA, became a professor of psychology in the UCSF New York; dOCUMENTA (13), Kassel; the medical school, where he retired in 2004. In Venice Biennale; Centre Georges Pompidou, 2009, TIME magazine ranked Dr. Ekman one Paris; Institute of Contemporary Art, London; of the 100 most influential people in the world. MACBA, Barcelona; de Appel arts centre, He wrote books and publications, including Amsterdam; Museo de Arte Contemporáneo Telling Lies and Emotions Revealed: Under- de Oaxaca, Oaxaca de Juárez; Kunsthalle standing Faces and Feelings to Improve Emo- ; Hamburger Bahnhof, Berlin. tional Life.

Jean-Martin Charcot (1825–1893, FR), one of Hamza Halloubi (1982, MA) studied visual art France’s greatest medical teachers and at La Cambre in Brussels and at HISK in clinicians of the 19th century, was instrumental Ghent, Belgium. In clear and concise language, Hamza Halloubi develops narratives that unfold Foundation Rome Prize Fellow at the American in a sphere that balances between documentary Academy in Rome. and fiction. He approaches history in a poetic manner involving recurrent themes such as Käthe Kollwitz (1867–1945, DE) was one of the reading, memory and exile. These narratives, last great practitioner of German Expressionism situated somewhere between the personal and is often considered to be the foremost and the collective, run parallel to the official artist of social protest in the 20th century. version of history but question it at the same An eloquent advocate for victims of social injus- time. Halloubi has been resident at the JCVA tice, war, and inhumanity, Kollwitz portrayed in Jerusalem and at the Rijksakademie van the plight of the poor and oppressed with the beeldende kunsten in Amsterdam. He has powerfully simplified and boldly accentuated presented his work, at amongst others, the forms that became her trademark. She studied Museum De Pont, Tilburg; BOZAR-Palais art in Berlin and began producing etchings in des Beaux-Arts, Brussels; EYE Filmmuseum, 1880. From 1898 to 1903 Kollwitz taught at the Amsterdam; S.M.A.K., Ghent; Marrakech Berlin School of Women Artists, and in 1910 Biennale; Haus der Kulturen der Welt, Berlin; began to create . A museum dedi- and Centre Georges Pompidou, Paris. cated to Kollwitz’s work opened in Cologne, Germany, in 1985, and a second museum opened The International Academy of Art Palestine in Berlin one year later. The Diary and Letters (IAAP) is situated in Ramallah. The academy of Käthe Kollwitz were published in 1988. opened in 2006 and was the very first institu- tion dedicated exclusively to the study of Susanne Kriemann (1972, DE) lives and works visual art in Palestine. The academy focuses in Berlin. She studied under Joseph Kosuth and particularly on the historical and geopolitical Joan Jonas at the Akademie der Bildenden context of Palestine. Künste in Stuttgart and holds a degree from the Ecole Nationale Supérieure des Beaux Emily Jacir (1972, PS) is a Palestinian-American Arts in Paris. As an artist working with and on artist and filmmaker whose ongoing practice photography, Kriemann is especially attuned is concerned with movement through public to the politics of image production in the space, exchange and silenced historical narra- so-called “age of the post-medium condition”. tives. In video, photography and other media, The reach of her investigative gaze includes she explores national identity and works from the history of photography and kindred repre- the collective experience to the individual sentations, Germany’s traumatic recent past, person. Jacir has received a Golden Lion at the obsolescence of industrialism and the the 52nd Venice Biennale, a Prince Claus Award, constant metamorphosis of urban culture — the Hugo Boss Prize, and Herb Alpert Award. all filtered through a relentless process of the Her works have been shown at MoMA, medium’s self-questioning. Kriemann has pre- New York; San Francisco Museum of Modern sented her work internationally, including Art (SFMOMA); Fondazione Sandretto Re Museum of Contemporary Art Chicago; Rebaudengo, Turin; dOCUMENTA (13), Kassel; Kunsthalle Wien, Vienna; Stedelijk Museum, Venice Biennale; 29th Bienal de São Paulo, Amsterdam; Kunsthalle Winterthur; 21er Haus, Brazil; 15th Biennale of Sydney; Sharjah Biennial 7; Vienna; Museum Boijmans Van Beuningen, Whitney Biennial; and the 8th Istanbul Biennial. Rotterdam and has participated in the Moscow Jacir’s recent solo exhibitions include Irish Biennial 2015 and 5th Berlin Biennial. Besides, Museum of Modern Art, Dublin; Whitechapel she is a long-term advisor at the Van Eyck Gallery, London; Darat il Funun, Amman; Beirut Academy in Maastricht and co-founder of Art Center; and the Guggenheim Museum, the artist initiative AIR Berlin Alexanderplatz New York. She is currently Andrew W. Mellon in Berlin. Britta Marakatt-Labba (1951, SE) is a Swedish the National Gallery of Canada. He is currently textile designer and artist. Her works mainly featured in Manifesta 11, Zurich, and is short- consist of textile embroidery, watercolor listed for the 2016 Sobey Art Award. painting and lithographs, but she has also illustrated books and worked as a costume Amie Siegel (1974, US) works variously between and set designer. Her embroidered narratives film, video, photography, performance, and show scenes and mythologies from the installation. She is known for her layered, Sami culture, history and daily life. The Samis meticulously constructed works that trace are the indigenous people who live in the and perform the undercurrents of systems of polar regions in the north of Norway, Sweden, value, cultural ownership and image-making. Finland and Russia. With these works she The artist’s recent solo exhibitions took place creates politically engaged miniature worlds. at the Metropolitan Museum of Art, New York; Marakatt-Labba studied at Sunderby College, Museum Villa Stuck, Munich; Kunstmuseum the Industrial Art School in Gothenburg and Stuttgart; and the MAK, Vienna. Her work is at the Sami College in Kautokeino. Her works in public collections including the Whitney have been exhibited at the Scandinavia House Museum of American Art, The Metropolitan and Norbotten Museum. Her work is part Museum of Art, Tate Modern, and the of the collections of the Swedish Parliament, Guggenheim Museum. She has been a fellow the Sami Collections in Karasjok, the Sami of the DAAD Berliner Künstlerprogramm and Parliament of Norway, the University of Tromsø, the Guggenheim Foundation. SpareBank 1 Nord-Norge’s Art Foundation, and the Northern Norway Art Museum. The Van Abbemuseum in Eindhoven is one of the first public museums for contemporary Pratchaya Phinthong (1974, TH) lives in Bangkok, art to be established in Europe in 1936. The where he studied Fine Arts. He has had solo museum’s collection of around 2700 works of exhibitions at the Galleria d’Arte Moderna art includes key works and archives by Lissitzky, e Contemporanea, Bergamo, and the Centre Picasso, Kokoschka, Chagall, Beuys, McCarthy, d’Art Contemporain, Brétigny. Phinthong Daniëls and Körmeling. The museum has an has participated in the Museum Triennial in experimental approach towards art’s role in New York, and the Singapore Biennale. society, focusing on openness, hospitality and knowledge exchange. Jeremy Shaw (1977, CA) works in a variety of media to explore altered states and the Charles Thomson Rees Wilson (1869–1959, UK) cultural and scientific practices that aspire was a Scottish physicist and meteorologist to map transcendental experience. Often who received the Nobel Prize in physics in combining and amplifying strategies from the 1927 for his invention of the cloud chamber — realms of conceptual art, ethnographic film, a glass container with air and water vapor music video, mystical and scientific research, and ingenious devices that allow traces left Shaw proposes a post-documentary space by ionizing radiation and particles that pass in which disparate ideals, belief-systems and through the chamber to become visible and narration are put into crisis. Shaw has had solo be photographed. Wilson studied zoology, exhibitions at MoMA PS1, New York; Schinkel botany, and geology in Manchester and went Pavillon, Berlin; and MOCCA, Toronto and on to study physics and chemistry at Cambridge been featured in group exhibitions at Stedelijk University where he also began working on Museum, Amsterdam, Palais de Tokyo, Paris; his cloud chamber at Cavendish Laboratory. and KW Institute, Berlin. Work by Shaw is Wilson remained at Cambridge as a professor held in public collections worldwide including of natural philosophy at Sydney Sussex College the Museum of Modern Art, New York; and from 1925. WDW25+ Adriana Ramić (1989, US) graduated in Inter- Fabian Bechtle (1980, DE) studied in Leipzig disciplinary Computing and the Arts and and Lyon. Based in Berlin, he worked with Studio Art at University of California, San Diego. Armin Linke from 2009 to 2011. After that, She is based in New York, and currently with a DAAD grant for postgraduate artists, working, among other projects, on a long- he moved to Belgrade for a research project term research on the question of materializing where he also investigated the archives of systems of cognition. Her work has been Josip Broz Tito. His works have been shown at exhibited Kunsthalle Wien, Vienna; Kunstpalais PACT Zollverein, Essen; Goethe-Institute, Erlangen; A plus A gallery, Venice; Moderna Rome; Fabricca del Vapore, Milano; Bonner Museet, Stockholm; LUMA Westbau Zürich Kunstverein; ngbk Berlin; Museum for Con- and most recently in Sydney and at Vermillion temporary Art and Museum for Yugoslav History, Sands, Copenhagen. Belgrade; and Trehgornaya Manufactura, Moscow.

Kasper Bosmans (1990, BE) is a shrewd observer of the ways in which images can teeter on the edge of nature and fiction, or art and craft. With an intuitive anthropological approach, he looks towards the remnants of local traditions and mythological iconography in contempo- rary life. Concerned with an associative beauty produced by play, Bosmans cuts across per- formance, painting, drawing, and sculptural installations made up of various components, such as milk, sand or marble — means through which he explores both functional and decora- tive forms, and evokes subtle correspondences between them. Recent exhibitions include a.o. Specimen Days, S.M.A.K., Ghent; Cintamani Weavings at Art Center Centrale, Brussels; Loot, Soil, and Cleanliness, CIAP, Hasselt; Correspondence, with Rafaella Crispino, Unosunove, Rome; Yesterday was different with Marthe Ramm Fortun, KOMPLOT, Brussels; Des hôtes: a foreigner, a human, an unexpected visitor, Spring Workshop, Hong Kong; Little Cherry Virus, Pakt, Amsterdam; Un-Scene III, WIELS, Brussels; Made to Measure: Fishing Rod, Experimental Intermedia, Ghent; Het kanaal – le canal, Extra City Kunsthal, Antwerp & Espace 251 Nord, Liège; Coming People, S.M.A.K., Ghent.

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Para | Fictions WDW25+ 29 January 2016 – 9 April 2017 27 May – 31 December 2016 Team Defne Ayas, Natasha Hoare, Team Defne Ayas, Natasha Hoare, Samuel Samuel Saelemakers Saelemakers, with Marie Egger (Curatorial Fellow), Marjolijn Kok (Archaeologist) Rotterdam Cultural Histories #9 Design Paul van Gennip Manifesta 1 Revisited 9 September – 31 December 2016 Decorations Conceived by Defne Ayas (Director, Witte Kasper Bosmans de With), Mariette Dölle (Former Artistic 9 September – 31 December 2016 Director, TENT) Curator Samuel Saelemakers Curated by Adelheid Smit Special thanks to Lucas Haberkorn, curator Lenders Maria Eichhorn, Ayşe Erkmen, Museum Jorn, Silkeborg Hedwig Fijen (Director, Manifesta), Vadim Fishkin, Jeanne van Heeswijk, Carsten Höller, Rome Was Built For A Day Oleg Kulik, Kamiel Verschuren Fabian Bechtle and Adriana Ramić Special thanks to Ana Maria Hernandez, 10 November – 31 December 2016 Ove Lucas Curator Marie Egger

In the Belly of the Whale Visitors Guide 9 September – 31 December 2016 Editors & Writers Defne Ayas, Marie Eggers, Curators Natasha Hoare, Adam Kleinman Natasha Hoare, Samuel Saelemakers, Adelheid Lenders Adrastus Collection, Mexico City; Smit, Frederike Sperling (curatorial intern) Alexander and Bonin, New York; Barbara English copy-editors Liz Allan, Rosa de Graaf, Wien Galerie, Berlin; Freud Museum, London; Natasha Hoare, Eline Kersten INSTAR en Yo Tambien Exijo Platform, Cuba; Dutch copy-editors Niek van der Meer, König Galerie, Berlin; Lisson Gallery, London; Sarah van Overeem-van der Tholen, Samuel Museum der Brotkultur, Ulm; Public Art Saelemakers, Adelheid Smit Norway (KORO), Oslo; Royal Scottish Academy Translation (English – Dutch) Eline Kersten, of Art and Architecture, Edinburgh; Simon Hessel de Ronde Preston Gallery, New York City; Wilfried Lentz Design APFEL, Kristin Metho Galerie, Rotterdam Printer Raddraaier Cover photo Charles Thomson Rees Wilson, Cloud Chamber photograph, glass plate negative, c. 1911–13, Royal Scottish Academy of Art & Architecture collections (The CTR Wilson collection of Cloud Chamber Photography) © the estate of CTR Wilson, image©Sandy Wood Funders Witte de With Staff

Para | Fictions is supported by AMMODO and Director Defne Ayas Institut français des Pays-Bas. Deputy Director Paul van Gennip Curators Natasha Hoare, Samuel Saelemakers The WDW25+ archive project is in part Curatorial Fellow 2016 Marie Egger Associate Director, Education & Public Affairs supported by J.E. Jurriaanse Stichting and Yoeri Meessen G.Ph. Verhagen-Stichting. Business Coordinator Sarah van Overeem-van der Tholen Decorations is supported by the Flemish Publications & Website Associate government. Maria-Louiza Ouranou PR, Marketing & Communication Associate Witte de With Center for Contemporary Art Milou van Lieshout, Adelheid Smit is supported by the city of Rotterdam and MarCom Officer / Director’s Office Angélique Kool the Ministry of Education, Culture and Science Office ManagerGerda Brust Events & Office AssistantEmmelie Mijs (OCW). Production Assistant Wendy Bos Education Assistant Docus van der Made Website & Social Media Assistant Jeroen Lavèn Library Assistant / Receptionist Erik Visser Receptionists Francine van Blokland, Ella Broek, Erwin Nederhoff Senior Technical Supervisor line kramer Administration Suzan van Heck Interns Eline Kersten (Curatorial), Marinda Zuiderent (PR & Communication)

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 Remty Elenga, Marguerite de Geus, Rabin Huissen, Jasmijn Krol, Annelotte Vos, Gino van Weenen Art Mediators Femke Gerestein, Lisa Diederik, Hannah Kalverda, Germa Roos, Britt Rooswinkel, Bram Verhoef, Gino van Weenen, Lesley Wynands Administration Frank van Balen Witte de With Board Kees Weeda (President), Patrick van Mil (Treasurer), Gabriel Lester, Jeroen Princen, Karel Schampers, Nathalie de Vries, Katarina Zdjelar Business Advice Chris de Jong Para | Fictions Lucy Skaer — One Remove 15 July — 2 October 2016 Mark Geffriaud — two thousand fifteen 14 October 2016 — 15 January 2017

In the Belly of the Whale 9 September — 31 December 2016

WDW25+ Kasper Bosmans — Decorations 9 September — 31 December 2016 Fabian Bechtle and Adriana Ramić — Rome Was Built For A Day 10 November — 31 December 2016

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