Tag Archives: Amsterdam

Revolver Reviews

A summary of the reviews of Revolver, at Ellen de Bruijne Projects.

Eelphant Magazine.

Mister Motley.

Full Circle, weheartart.co.uk.

Every Letter has its own color, Kees Keijer, Het Parool.

Inintentional Assisted Ready Made Homage?

with a dose of Picasso and Achille and Pier Giacomo Castiglioni.

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Stem Terug! Vote Back!


De Appel & Frascati

With contributions and work by:

Otto Berchem, Lotte van den Berg, Maren Bjørseth, Dood Paard, Sam Durant, Tim Etchells, Bojan Fajfric, MelihGençboyaci, Klaas van Gorkum & Iratxe Jaio, Marjolijn van Heemstra, Sadettin Kirmiziy üz, Platform BK, Roxy Movies (Frank Herrebout & Leo van Maaren), Jonas Staal, Tijdelijke Samenscholing, Toneelgroep Amsterdam, Yuri Veerman, Dries Verhoeven, Annelys de Vet & het Sandberg Instituut, De Warme Winkel, Wunderbaum, XML Architecten, The Yes Men, Artur Zmijewski

October 5th — November 4th, 2012

At a time when the political landscape in the Netherlands is changing, just a few weeks after the elections on the 12th of September we will voice our questions about what has happened to our vote since that day. What remains of the campaign promises and positions adopted by political parties after the many negotiations to form a government? Are we, as citizens, really represented in this process? Or is it time to reclaim our vote? In the current media landscape can politics do any more than move between pragmatism, marketing politics and populism – you ask, we respond – or is it time for a radical turn? And last but not least: what is the role of the arts in this? Like politics, the cultural field is also blamed for losing social support. How can the arts be an engine for ideology and change?

Frascati and de Appel arts centre are inviting artists, theatre companies, politicians, designers and media pundits to respond to these questions while the government is being formed. Stem terug! Vote Back! consists of performances, debates, documentaries, pamphlets, presentations, lectures, master classes and an exhibition.

San Serriffe with Otto Berchem, Louis Lüthi and Cannon Magazine

This Friday, September 21st at 6–9 p.m. art book shop San Serriffe opens at its new and permanent location, Sint Annenstraat 30, Amsterdam.

To celebrate the opening we show the work ‘It’s Our Party’ by Otto Berchem (USA, 1967). The installation is a festive display of streamer pennants that makes use of a chromatic alphabet created by Berchem, inspired by the writings of Jorge Adoum and Vladimir Nabokov, Peter Saville’s designs for the first three New Order albums, and the condition of synesthesia.

San Serriffe is proud to present two new publications on the occasion of the opening:
— ‘Infant A’ by Louis Lüthi
‘Infant A’ recounts a fictitious meeting between the protagonist and Ulises Carrión, the Mexican artist and bookmaker who was based in Amsterdam during the 1970s and 80s; their conversation revolves around the poetic potential of a single letter and two books with single-letter titles in particular: Andy Warhol’s a and Louis Zukofsky’s “A.” This is the third installment of The Social Life of the Book, a quarterly subscription-based series of texts about the contemporary state of the book at all stages of its production and consumption, edited by castillo/corrales and published by its imprint Paraguay Press.

— ‘Cannon Magazine No.2’ by Phil Baber
Cannon Magazine No.2, titled “It is possible, possible, possible. It must be possible.”
With content from Hugo von Hofmannsthal, Francis Ponge, Rainer Maria Rilke, Peter Handke, Heinrich von Kleist, Robert Walser, Jean-Philippe Toussaint, Petr Král, Emily Dickinson, William Faulkner, Wallace Stevens, Alberto Caeiro, Thomas Bernhard, and Friedrich Hölderlin. Conceived, edited, and designed by Phil Baber.

San Serriffe will be open weekly from Thursday to Saturday from 12 –7.

Art, theft, and curators: an (old) converstaion with Saskia Bos


Crap Shoot. An exhibition curated by five young curatorial students from de Appel, which opened 15 years ago this April.

It was the Dutch art world’s cause célèbre of the year. Perhaps the decade? The ticket booth smashed to pieces. Rudy Fuchs, the then director of the Stedelijk Museum, followed by a hapless private detective. The contents of the office, as well as the exhibition of Paul de Reus, stolen from Bloom Gallery. An exhibition almost universally panned at the time.

The day after the opening, the artists and curators held what was meant to be a panel discussion. In the end it was closer to a public lynching. The crowd jeered and heckled. The panel responded, or at least tried to.

Before the dust had a chance to settle, I was asked to interview Saskia Bos for the Crap Shooter, the newspaper that accompanied the show. It was Bos who indirectly started the whole fuss when she created De Appel’s Curatorial Training Programme two years before.

This was to be her chance to respond to the critics, and she took it.

Download a copy of it here.

Buy Buy Buy

Kill two birds with one stone: become an Otto Berchem collector and support young artists at the Rijksakademie.

Contemporary Global Artists for Artists, tomorrow night at Sotheby’s Amsterdam.

DIY Censorship

Public art is always difficult thing to do. You’re never going to make everyone happy. You can’t make everyone happy, but too many artists – or to be precise commissions – try and do just that. Because of that, more times than not, it’s completely uninteresting. If I had to be honest, I’d say most of it is crap. It get’s even more complicated when he artist decides to use recognizable imagery.

That said, one would think that if a mural, that’s been on the side of a building for over 12 years, in the center of Amsterdam none the less, would be old news by now. You’d think. Well, apparently not.

This morning, after a walk into town to witness the spectacle of Queen’s Day, I noticed that someone decided to express their opinion about a mural that’s literally down the street from me.

Apparently I wasn’t the only one who noticed.

Everyone is a critic, but really, you’d think there’d be a better time to express your opinion than in broad daylight, across from a Police station, and on a National holiday.

The message.

The critic, responding to various people expressing their opinions about her critique, from their apartment windows.

The offending work, more or less in its entirety.

Do I like the work? Not really. But that’s really not the point. Is it?