Appletree #3 - Denise Murrell

Wednesday 22 May, 16:00 – 18:00
(doors open at 15:45)
Rijksakademie Reading Room
Admission is free/open to public

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'I have some food in my bag for you
Not that edible food, the food you eat? No
I have some food for thought
Since knowledge is infinite, it has infinitely fell on me'
Erykah Badu, Appletree

In the 1997 track Apple Tree, Erykah Badu speaks of the infinity of knowledge that fell on her. The apples on her tree function as food for thought for those 'who want to be down'. Adopting Erykah Badu’s title, Appletree is a series of events curated by Vincent van Velsen that explores pitfalls within constructions of knowledge in relation to questions of identity, knowledge and the power to voice oneself. It focuses on the flaws and inconsistencies, awarenesses that have been laid on doorsteps, elephants that have awaited in rooms, and the all so necessary confrontations with blind spots, which have found their way into culture at large in the present. While there is an increasing awareness of the glitches in knowledge constructs and frameworks, it is also important to think beyond surface representations, which will not change nor fix anything if the systems that construct these remain in place.

The final encounter will be held on Wednesday May 22, with a lecture by Denise Murrell, curator of the acclaimed exhibition Posing Modernity: The Black Model from Manet and Matisse to Today at Miriam and Ira D. Wallach Art Gallery, Columbia University in the City of New York (10/24/18–02/10/19), and curator of Black models: from Géricault to Matisse at the Musée d'Orsay in Paris (03/25/19–07/14/19).

Denise Murrell will introduce her ambitious and revelatory investigation of the black female figure in modern art. She investigates how changing modes of representing the black female figure were foundational to the development of modern art. She argues that the modernist painters portrayed the black figure as an active participant in everyday life rather than as an exotic 'other'. Denise Murrell explores the little-known interfaces between the avant-gardists of nineteenth-century Paris and the post-abolition community of free black Parisians. She reveals the 'black presence at the very center of the milieu in which Manet and the Impressionists circulated', a free black community whose ongoing influence Murrell traces throughout the modern era—by way of Degas, Henri Matisse, Romare Bearden, and contemporary female artists like Faith Ringgold, Lorraine O’Grady, and Mickalene Thomas, who have more recently drawn inspiration from these forgotten muses.

While black artists, in particular, have not failed to notice the profound significance of these histories, academics, it seems, have. Murrell found few Manet and Matisse scholars who had looked closely at the black presence in the artists’ work—aside from art historian Griselda Pollock, who wrote about Laure in her 1999 book Differencing the Canon. To fellow art historian T.J. Clark, Laure ultimately 'meant nothing'. Laure is the black female figure in Édouard Manet's Olympia (1863) whom, to Murrell, represents subjects that were absolutely 'central to modern life'— as much as issues of race, class, and gender that are still shaping the world today.

Denise Murrell is the curator of the Posing Modernity exhibition, and Ford Foundation Postdoctoral Research Scholar at the Miriam and Ira D. Wallach Art Gallery at Columbia University.

Appletree is a public program at the Rijksakademie van Beeldende Kunsten, organized by curator and critic Vincent van Velsen.

Rijksakademie Public Programme #5 - Miguel A. López

Please join on us on Thursday, May 16 from 19:00- 21:00 for a talk with writer, researcher, and curator Miguel A. López: Dissident Fictions in the Land of Misogyny and Homophobia

Doors open at 18:45, tickets are available here

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This talk will reflect on diverse practices that create a dialogue between history, memory, and feminist politics in Latin America. Within this context, López will share ideas related to the Museo Travesti del Perú [Transvestite Museum of Peru] in Lima, founded by the late Peruvian philosopher, drag queen and queer activist Giuseppe Campuzano in 2003. The museum, halfway between performance and historical research, proposed a critical reviewing of history from the strategic perspective of a fictional figure Campuzano called the 'androgynous indigenous/mixed-race transvestite'. There, transgender, transvestite, transsexual, intersexual and androgynous figures were posited as the central actors and main political subjects for any construction of a history. In relation to this, López then will speak about TEOR/éTica, a non-profit visual art organization founded in 1999 by artist and curator Virginia Pérez-Ratton. Its mission is to contribute to the research and diffusion of contemporary art practices in Central America and the Caribbean in dialogue with global realities. Their recent curatorial projects of Central American artists who use diverse strategies of self-fashioning and image-making to explore the political representation of gender. The affinities that emerge in their works underscore the fact that art is an important place in which to reclaim the right to self-determination of our names, lives, and bodies.

Miguel A. López (b.1983) is a Peruvian writer, researcher, and co-director and chief curator of TEOR/éTica, a center for exhibitions, research, and publications on Central American and Caribbean contemporary art in San José, Costa Rica. His work investigates collaborative dynamics and transformations in the understanding of and engagement with Latin American politics and feminist re-articulations of art and culture in recent decades.
His texts have been published in journals such as Afterall, Artforum, E-flux Journal, ramona, Art in America, Art Journal, and Manifesta Journal, among others. He has curated Cecilia Vicuña. Seehearing the Enlightened Failure at Witte de With, Rotterdam, 2019; Social Energies/Vital Forces. Natalia Iguiñiz: Art, Activism, Feminism (1994-2018) at the ICPNA, Lima, 2018; Balance and Collapse: Patricia Belli, Works 1986-2016 in TEOR/éTica, San José, and Fundación Ortiz Gurdian, Managua, 2016-2017; Teresa Burga: Structures of Air (with Agustín Pérez Rubio) at MALBA, Buenos Aires, 2015; and the God is queer section for the 31st São Paulo Biennial, 2014, among others. He has recently published the books Ficciones disidentes en la tierra de la misoginia (Dissident Fictions in the Land of Misogyny; Pesopluma, 2019); and The Words of Others: León Ferrari and Rhetoric in Times of War (together with Ruth Estévez and Agustín Diez Fischer, REDCAT and JRP-Ringier, 2017). He is a co-founder of Bisagra, an independent space active in Lima since 2014. In 2016 he was awarded the Independent Vision Curatorial Award, given every two years by Independent Curator International.

This talk is part of the Rijksakademie Public Programme, developed in collaboration with Witte de With, Rotterdam, where Miguel A. López is guest-curator of the Cecilia Vicuña retrospective, opening on 26 May 2019.



 
Giuseppe Campuzano, Letanía [Litany], 2012 Digital collage and silkscreen on paper, 50 x 30 cm. Courtesy Giuseppe Campuzano Archive Giuseppe Campuzano, Letanía [Litany], 2012 Digital collage and silkscreen on paper, 50 x 30 cm. Courtesy Giuseppe Campuzano Archive

Funda Gül Özcan wins the Volkskrant Beeldende Kunst Prijs 2019

On 18 April, during a broadcast of the radio programme Opium, it was announced that the Rijksakademie alumna Funda Gül Özcan (RA 16/17) is the winner of the 12th edition of the Volkskrant Beeldende Kunst Prijs.

"Her installations can be experienced as a roller coaster in which all kinds of things happen simultaneously with the viewer. Her dioramas are rich, fascinating and both enigmatic and technically astonishing'", according to the jury that unanimously chose Funda Gül Özcan.

Her work and that of the other two nominated artists Neo Matloga and Lonneke van der Palen will be on display at the Stedelijk Museum Schiedam until 16 June.

Listen to the broadcast of Opium here.

 

Shortlist Prix de Rome Visual Arts 2019 announced

Rijksakademie alumni Sander Breure & Witte van Hulzen (RA 16/17) and Femke Herregraven (RA 17/18) have been nominated for the Prix de Rome 2019, together with Esiri Erheriene-Essi and Rory Pilgrim.

Each artist will receive a working budget and will be given the opportunity to create new work during a five-month period. The work will be exhibited at Stedelijk Museum Amsterdam from 19 October 2019. 

The winning artist will receive 40,000 euros and a residency at the American Academy in Rome.

More information

Rijksakademie Public Programme #4 - Sabeth Buchmann

Please join us on Thursday 25 April from 18:00 - 19:30 for a lecture with art historian and art critic Sabeth Buchmann: 'Subjects Put to the Test: Learning Exercises in Contemporary Artistic and Curatorial Practices'

Doors open at 17:45, tickets are available here.

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This talk will take up a common problem posed by many contemporary artists and curators: How can art acquire meaning beyond exclusive norms and institutional boundaries? For some time now, this question has been answered with [performative] concepts such as ‘experiment’, ‘improvisation’, and ‘rehearsal’. These concepts suggest something other than what has always been known, first of all in the sense of unexpected events that allow for trying something new together. Focusing on anti-normative and spontaneous enactments of self-learning micro-publics, the lecture will look at the implications of these performative practices and their consequences for common notions, distinctions, and evaluations of artistic and curatorial practice.

Sabeth Buchmann is an art historian and critic. She is Professor of Modern and Postmodern Art and Head of the Institute for Art Theory and Cultural Studies at the Academy of Fine Arts Vienna. She recently co-edited (with Ilse Lafer and Constanze Ruhm) the volume Putting Rehearsals to the Test.

This lecture is part of the Rijksakademie Public Programme, developed in collaboration with the Vrije Universiteit Amsterdam and initiated by art historian and critic Sven Lütticken who teaches art history and art criticism at the Vrije Universiteit.
 

Art Brussels 2019

ART BRUSSELS
25 t/m 28 april 2019
www.artbrussels.com
 
GALLERIES

Tim Breukers - (RE)D. (Antwerpen)
Sander Breure & Witte van Hulzen - tegenboschvanvreden (Amsterdam)
Johan Creten - Transit (Mechelen)
Michael Dans - Nadja Vilenne (Luik)
Armen Eloyan - Tim van Laere (Antwerpen)
mounir fatmi - ADN (Barcelona), Ceysson & Bénétière (Wandhaff, New York, Parijs, Saint Etienne)
Ištvan Išt Huzjan - Proyectos Monclova (Mexico)
Peterson Kamwathi - Ernst Hilger (Wenen)
Hamid El Kanbouhi - (RE)D. (Antwerpen)
Matthew Lutz-Kinoy - Freedman Patrick (Los Angeles), Mendes Wood DM (Brussel, New York, São Paulo)
Valérie Mannaerts - Bernier/Eliades (Athene/Brussel)
Otobong Nkanga - Mendes Wood DM (Brussel, New York, São Paulo)
Gareth Nyandoro - SMAC (Capetown), Tiwani Contemporary (London)
Hans Op de Beek - Ron Mandos (amsterdam), Krinzinger (Wenen)
Thierry Oussou - Tiwani Contemporary (London)
Florian & Michael Quistrebert - Upstream (Amsterdam)
Marjolein Rothman - Wetterling (Stockholm)
Pep Vidal - LMNO (Brussel)
Evi Vingerling - Kristof de Clerq (Gent)

ADDITIONAL PROGRAMME
 
Video Project - Screen it
Constant Dullaart, mounir fatmi

One, two, many, Kanal – Centre Pompidou, 22-1 t/m 19-5, Manon de Boer (solo)
 
Encounter, Frédéric de Goldschmidt Collection / FdG Projects, Brussel (BE), 25-4 t/m 25-5, Maria Kley (solo)

ALSO IN BRUSSELS

Poppositions 2019
Capital of Woke
25 t/m 28 april

Margaret Haines - Lily Robert (Parijs)
Mauricio Limón de León - Wildpalms (Düsseldorf)


 

Shortlist Preis der Nationalgalerie 2019

Rijksakademie alumni Pauline Curnier Jardin (RA 15/16) and Katja Novitskova (RA 13/14) are among the four shortlisted artists for the Preis der Nationalgalerie 2019.

Statements from the jury:

Pauline Carnier Jardin convinced the jury with her transgressive artistic practice adopting visual and narrative elements as much from the theatre tradition as from narrative cinema. Her often humorous works are the outcome of an individual approach towards historical situations and the collective repertoire of stories, religious and cultural traditions, and mythologies by transposing them into a contemporary experimental language. The jury was especially drawn to her approach towards gender roles, diversity of identityand queerness*, addressed from the position of a "precarious feminism".

One of the pioneers of an artistic language that became known as 'post internet art', Katja Novitskova convinced the jury with the virtuosity and complexity with which she brings together images of nature and technology. Her immersive sculptural environments address the transformation of organic bodies into digital data and attempt, so to speak, a re-materialization of our extensively virtual world. Capturing the process of transformation, she creates futuristic landscapes and maps of information and exemplifies the growing inadequacy of the division between the real and the virtual.



A joint exhibition of the artists’ work will be shown from August 16, 2019 to January 12, 2020 at Hamburger Bahnhof Berlin. The prizewinner will be chosen on 12 September, the award consists of a solo exhibition with a catalogue at one of the institutions of Berlin’s Nationalgalerie in the fall of 2020.
 
Pauline Curnier Jardin, 'Grotta Profunda Approfundita', 2017, installation-film, installation view, 'Viva Arte Viva, Arsenale, 57th Venice Biennale (photo Daniele Zoiko) Pauline Curnier Jardin, 'Grotta Profunda Approfundita', 2017, installation-film, installation view, 'Viva Arte Viva, Arsenale, 57th Venice Biennale (photo Daniele Zoiko) Katja Novitskova (photo Lutz Leitmann) Katja Novitskova (photo Lutz Leitmann) Katja Novitskova, Pattern of Activation (eyes of the world), 2017, installation, sculpture, sound, various media. From solo exhibition for Estonian Pavilion for the 57th Venice Biennale, 2017. Courtesy of the artist, Kraupa-Tuskany Zeidler, Berlin (photo Anu Vahtra) Katja Novitskova, Pattern of Activation (eyes of the world), 2017, installation, sculpture, sound, various media. From solo exhibition for Estonian Pavilion for the 57th Venice Biennale, 2017. Courtesy of the artist, Kraupa-Tuskany Zeidler, Berlin (photo Anu Vahtra)

Sharjah Biennial 14: Leaving the Echo Chamber

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Sharjah Biennial 14
Leaving the Echo Chamber
7 March  - 10 June


Programme Opening Week & March Meeting


The 14th edition of the Sharjah Biennial (SB14), Leaving the Echo Chamber, explores the possibilities and purpose of producing art when news is fed by a monopoly of sources, history is increasingly fictionalised, when ideas of ‘society’ are invariably displaced, when borders and beliefs are dictated by cultural, social and political systems.

Curators Zoe Butt, Omar Kholeif and Claire Tancons, who have collaboratively conceived the SB14 theme, present three distinct exhibitions bringing together a range of experiences and works to create a series of provocations about how one might re-negotiate the shape, form, and function of the "echo chamber" of contemporary life, towards a multiplying of the echoes within, such vibration representative of the vast forms of human production —its rituals, beliefs and customs.

Participating Rijksakademie alumni:

Journey Beyond the Arrow
- curated by Zoe Butt -

Anawana Haloba
Meiro Koizumi
Mark Salvatus


Making New Time
- curated by Omar Kholeif -

Otobong Nkanga
Pamela Rosenkranz
Kemang Wa Lehulere


Look for Me All Around You
- curated by Claire Tancons -

Meschac Gaba
Matthew Lutz-Kinoy


 

Rijksakademie Public Programme #2 - Gabi Ngcobo

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We regret to inform you that both lecture and seminar with Gabi Ngcobo on Wednesday 6 February, and Thursday 7 February are now fully booked. We will however make the video documentation of the lecture available after the event. 
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Curating Strategies of Productive Refusal - Gabi Ngcobo

Please join on us on Wednesday, 6 February, from 19:00 – 20:30 for a lecture with curator, educator, and artist Gabi Ngcobo. Doors open at 18:45.

Tickets are available here.

During a two-day event Gabi Ngcobo will discuss refusal as a curatorial strategy as employed in her collaborative projects. These include Nothing Gets Organised - NGO, Center for Historical Reenactments (CHR, 2010–14) and the 10th Berlin Biennale: We Don’t Need Another Hero, which resisted the desire for a single heroic conclusion in favor of embracing complexity. Herein, refusal is applied as a strategy to challenge the uptake of assigned or inherited responsibilities that keep certain people in roles whereby they are expected to explain to those who have the privilege not to know.

The first session on Wednesday 6 February will take shape in the form of an evening lecture at Rijksakademie, Amsterdam, where Ngcobo is also advisor.

The second day at The Black Archives, Amsterdam, will go deeper into the topic in a closed seminar, where some preparatory readings will be provided after registration. To attend this seminar, please RSVP to Yolande van der Heide at yolande@casco.art with a brief letter of motivation.

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This event is co-organized with De Appel, Casco Art Institute: Working for the Commons, and Rijksakademie van beeldende kunsten with The Black Archives.

Initiated by Casco Art Institute, Curating Strategies of Productive Refusal is organized in line with one of Casco’s study lines on the commons, Angry Letters. Angry Letters works with the magazine as a repository medium for collating tools that de-center the oppressor/s in conversations on freedom and liberation. The inaugural 'issue' is developed with Open - Platform for Art, Culture and the Public Domain and takes a text-to-workshop form for opening up and applying discussions in real time. The outcome will thus comprise of online and print components to be published in the fall of 2019.

Read more about the study line and project here
We are absolutely ending this, 2012. Courtesy of CHR We are absolutely ending this, 2012. Courtesy of CHR

Out of Office - Art in business

Out of Office - art in business
Singer Museum, Laren (NH)
11 december 2018 - 7 april 2019


Under the title Out of Office - art in business, Singer Laren, in collaboration with the Vereniging Bedrijfscollecties Nederland (VBCN), offers an art-historical overview of 75 years of Dutch art from corporate collections.

Participating alumni:

Tjebbe Beekman
Melanie Bonajo
Elspeth Diederix
Gijs Frieling
Folkert de Jong
Gert Jan Kocken
Michael Raedecker
Marie-José Robben
Sarah van Sonsbeeck
Berend Strik
Fiona Tan
Esther Tielemans
Helen Verhoeven
Koen Vermeule
Roy Villevoye
Evi Vingerling


Parallel to Out of Office - art in business, the museum is showing the exhibition RE:Collecting, which includes works by alumni Persijn Broersen & Margit Lukács and Ryan Gander.

publication date 20-12-2018

Tushar Joag (1966-2018)

We are saddened by the news that on Tuesday 18 December 2018 artist-activist and Rijksakademie alumnus Tushar Joag passed away unexpectedly.

Tushar and his wife Sharmila Samant were both residents at the Rijksakademie in 1998 and 1999. After returning to Mumbai, they founded the artist-led initiative 'Open Circle', one of the first platforms of the Rijksakademie Artists Initiatives Network (RAIN). Open Circle (1999-2008) was an artist collective that sought to engage with contemporary socio-political issues via an integration of theory and practice.

Tushar described himself as a public intervention artist. He founded the Public Work Cells, an organisation that worked “to create works of art that seek to make interventions in the urban space, by designing and producing objects that while being functional and aesthetic bring into focus the various concerns of the immediate situation”.

In recent years he taught at Shiv Nadar University of Arts in Greater Noida, where he and Sharmila set up the Masters of Arts programme.

Over the past few weeks, Tushar had been helping to assemble a forum called Artists Unite, which recently issued a statement signed by 450 painters, writers and filmmakers warning that “democracy is not a majoritarian project to identify enemies and enforce uniformity of language, behaviour and culture”. It added, “Democracy is the celebration of a collective will for peace, of living together with dignity and equality.”

Our hearts are with Sharmila, his children Kattyayani & Kashyap, and his family and friends.
 
Tushar Joag in 2016 (photo www.ficart.org) Tushar Joag in 2016 (photo www.ficart.org)

publication date 4-10-2018

Shortlist Future Generation Art Prize 2019

Rijksakademie alumni Monira Al Qadiri (RA 16/17) and Yu Araki (guestresident in 2018) are shortlisted for the fith edition of the Future Generation Art Prize.

The Future Generation Art Prize is a biannual global contemporary art prize open to all artists aged 35 or younger from anywhere in the world, working in any medium. Shortlisted artists will be commissioned to create new works on view in exhibitions at the PinchukArtCentre in Kyiv (1 February - 14 April) and the Venice Biennale (9 May - September 2019).

The Future Generation Art Prize 2019 Award Ceremony will take place in March 2019.

publication date 6-3-2018

Em’kal Eyongakpa receives Henrike Grohs Art Award

Rijksakademie alumnus Em’kal Eyongakpa (born 1981 in Mamfe, Cameroon) is the first recipient of the Henrike Grohs Art Award, conceived by the Goethe-Institut and the Grohs family. He will be awarded with a € 20.000 cash prize on 13 March 2018 in Abidjan.

The jury states: “The jury unanimously awards the inaugural Henrike Grohs Art Award to Em’kal Eyongakpa for his poetic, subtle and subjective approach. His work expresses universal concerns of humanity. The multidisciplinary stance of his practice that includes knowledge derived from science, ethnobotany, magical realism, experimentation and utopia, aptly responds to the core values of the Henrike Grohs Art Award.”


The Henrike Grohs Art Award is a biennial prize dedicated to artists who are living and working in Africa and practicing in the field of visual arts. It recognises the lifetime achievements of the former Head of the Goethe-Institut in Abidjan, Henrike Grohs, who was killed on 13 March 2016 in a terrorist attack in Grand-Bassam, Côte d’Ivoire.

Klaus-Dieter Lehmann, President of the Goethe-Institut: “We have not only lost a highly esteemed and beloved colleague in Henrike Grohs but also a person who carried hope into the world with her beliefs and actions. Therefore, it is of particular importance to link the memory of Henrike Grohs to a viewpoint that reflects her work and desires. This has come to fruition in the prize, as it promotes the cause of Henrike Grohs: To support African creative artists and make a contribution towards international dialogue. I would like to congratulate the first prize winner Em’kal Eyongakpa with whom, after an intensive selection process, the judges have made an excellent choice.”

Jury members

- Koyo Kouoh (Artistic Director, RAW Material Company, Dakar)
- Laurence Bonvin (artist and representative of the Grohs family, Berlin)
- Raphael Chikukwa (Chief Curator, National Gallery of Zimbabwe, Harare)
- Simon Njami (Curator, Paris)

More information

Em'kal Eyongakpa
Henrike Grohs Award