1 AGENDA YOUR-SPACE YOUR-SPACE NEWSLETTER : ISSUE #FOUR : OCT/NOV 2010 PROJECTION EDITION 1.01 SCREENING FAILED / Inass Yassin 25/9-24/10/10 Special screening: 25/9/10 19hrs, Lucas Gasselstraat in the Studio, Van Abbemuseum COLLECTIE VAN DE WIJK / Plan V 25/9-14/11/10 On level B-1, Van Abbemuseum On-going research project: please see Your-space webpage for further updates SPREEKSELREEKSEN 9 HOW TO TELL A STORY OF MY FATHER / Keiko Sato 14/10/10, 19-21hrs SPREEKSELREEKSEN 11 Inari Salmivaarra 23/12/2010 GATHERING GATHERING / Alejandra Salinas and Aeron Bergman, Eshan Fardjadniya and Cindy Moorman 4/11/10 ~ all day ping-pong and performances at 18.00, and in and around the Van Abbemuseum THE GARDENER S LAST SONG, 2X15 MINUTES / Juul Sadée 14/11/10 Opening: 14/11/10 14hrs In the Studio, Van Abbemuseum With a weekly: tea-garden Thursdays 17-21hrs, Sat-Sun from 15-17hrs. And 25-28/11/10, Playful Science workshop with Joost Bolten; Man And Living parallel-exhibition with works from Castor Bours, Iesje Jeuken, Joos Hamer, Olaf Kramer, Joost Bolten, Ans van Berkum, Lucas Kramer, Antonia Frank and Hermits, Wanderers and Other Outsiders (28/11/10) 14.00hrs with Ans van Berkum. 19/12/ hrs. PLEASE ALSO CHECK THE YOUR-SPACE WEBSITE ON THE VAN ABBEMUSEUM HOMEPAGE FOR FURTHER DETAILS AND OTHER 04 UPCOMING ACTIVITIES. YOUR-SPACE IS A THINKING, MAKING, TALKING SPACE OF ACTION AND PART OF THE VAN ABBEMUSEUM. E / P / +31 (0) A / Bilderdijklaan 10, 5611 NH Eindhoven W / netwerk-en-discussie/your-space GUEST CURATOR / Clare Butcher LAYOUT & DESIGN / Carli Hyland AGENDA VAN ABBEMUSEUM OCT/NOV 2010 PLAY VAN ABBE. PART 3: 25/09/ Jan 2011 GATE KEEPERS / Library Exhibition 25/09/ /10/2010 Van Abbemuseum: Bibliotheek HET OOG: Ahmet Ogut 02/03/ /06/2010 SEKS IS MEER #3 / Persoonlijke verhalen/personal narratives 7-9/10/10 Finissage: 10/12/10 with presentations and performances at the GGzE see: TRICKSTERS TRICKED: (un)covering identity Dutch Design Week and more 16/10/ /01/2011 Opening: Saturday, 23 October :00 (Re-)discovering Eindhoven Glow Internationaal Lichtfestival /11/ /11/2010 VAN ABBEMUSEUM Bilderdijklaan 10, Eindhoven Nederland +31 (0) Opening times: Tues to Sun Thurs Thursday evening free entrance
2 2010. Photo: Bram Saeys Photo: Bram Saeys COLLECTIE VAN DE WIJK BY PLAN V As part of the ongoing project of Plan V in Woensel West, there was aresearch-in-progress exposition by Toos Nijssen, Ron Eijkman and Clare Butcher from September , in the Van Abbemuseum. The Collectie van de Wijk focuses on collecting the neighbourhood of Woensel West, Eindhoven. Parts of this research were presented for visitors to become more acquainted with Plan V s research and all those interested are invited to keep up with the project progress in the coming months via the Your-space webpage. Artist, Toos Nijssen speaks with visitors about the Collectie van de Wijk project. The research installation in the Van Abbemuseum included a recent video interview made by Plan V in Woensel West as well as a series of drawings by Toos Nijssen and an inventory by Ron Eijkman.
3 COMMITMENT ISSUES by CLARE BUTCHER beauty of commitment Nice title huh? Sounds compelling. It was in fact the Ttheme of a discussion panel at the Liverpool Biennial which opened just some weeks ago. The panel consisted of a number of artists whose work takes place mostly in the public domain, as well as the biennial curator, Lorenzo Fusi. While I was not aware that it was possible for art to take place outside of at least some shape or form of public domain, there ensued a heated discussion about the way that art should be mediated when it occurs beyond the white walls of formal art spaces and the responsibility of the artist in all of that. Why only the artist? I asked. What about the myriad others within the network of artistic production, framing and circulation that is to say, the arts educators, writers, cultural policy makers, politicians, not least curators? Is it an artist s job to stand in front of their work and justify their decisions? Prove their commitment to their choices? The curator on the panel was suspiciously quiet during the entire debate. It made me wonder, whether it s making an artwork, installing an exhibition or writing a press release, when do we commit, how do we show that sincerity and who is this public making up the public domain? There are as many different answers to this as there are art practitioners and some of those you will find in the projects presented in this edition of the Your-space newsletter. During the last months and in the coming weeks Your-space has been, and will be, privileged to develop a series of commitments not only to aesthetics, not only to a certain social/moral vision, or economic viability, but ones which commit to a complex composition of all of the above. These projects draw into the fray the various actors and issues inextricably linked with any contemporary artistic action within an urban context such as ours. And by that, each exposes another side of working in/with/upon/around the public domain in its multiple forms. Plan V (Toos Nijssen and Ron Eijkman) have been working for months now, together with Your-space and as part of the Van Abbemuseum s public programme, in Woensel West where they are also living. The project, Collectie van de Wijk starts with the ideas of long-term engagement, trust and intimacy and from here, Plan V and myself are attempting to collect the neighbourhood of Woensel West in terms of its stories, the relationships happening there all the time as well as the material artefacts making up the area s history, present and future. A research-in-progress exhibition can be found on the B-1 floor of the Van Abbemuseum, inviting those interested to keep in touch as the Collectie van de Wijk grows. Next to Plan V s living room installation in the museum was Inass Yassin s Projection. Edition 1.01/Screening Failed made up of a poster campaign developed by the artist in response to the demolition of a popular cinema in Ramallah, Palestine. Like Plan V, Inass Yassin looks at the changing space of an urban context and the ways this affects and is affected by social relationships and politics. As part of this edition of the project, Inass Yassin presented a poetic projection of the almost completely destroyed Ramallah cinema onto the side of an Eindhoven building set for demolition. This building was the site of many artists studios, including until recently Plan V. Yassin s projection reflected on the ghostliness of the now empty studio block and what its eventual disappearance will mean for the area and those artists who had to vacate it. These shifts in Eindhoven s public domain(s) will then be taken up by Juul Sadée in her The Gardener s Last Song, 2x15 minutes, opening in the Studio, Van Abbemuseum in mid-november. Juul Sadée s playful, large scale, multi-media installation in fact conducts a very serious investigation of the drastic losses and substitutions of culture and identity in the city s history be it agricultural, rural, industrial, technological, creative. With a host of invited guests, discussions, tea parties and scripted monologues, the artist weaves together the threads connecting each of living in the city. The Instatements project by Uri Ben-Ari with Your-space, which opened on the Dag van de Architectuur in June, 2010, has now grown to include a much broader network of contributors. Uri Ben-Ari will be coordinating an exciting series of workshops and lectures during Dutch Design Week, at the end of October, 2010 which will also include a presentation of the forthcoming publication documenting the activities and projects exhibited in June and a number of newly commissioned texts and interviews. And finally, as a moment to reflect on the many assemblages and meeting points between projects, people, and spheres making up the Your-space programme this year, there came a Gathering Gathering in early November. For one night a small group of projects by invited contributors appeared around the museum. Through a series of subtle, surprising interventions, Alejandra Salinas and Aeron Bergman, Eshan Fardjadniya and Cindy Moorman explored what brings us together, when, why and what are the other ways we can imagine of gathering around one another. A friend reminded me recently of the similarity between the situation in the contemporary art world and the social relations presented in the children s story The Emperor s New Clothes. Are we all dressing up our activities with see-through concepts, appreciated only by an elite few and in danger of indecent exposure? Or are we the ones, like the little boy in the story, who are committed to calling out the bull****, pointing out the truths, questioning unquestioned cultural assumptions and ideas about quality? I invite you to commit with us to a last, sincere moment of gathering together what we ve seen this year, and to showing more clearly what we think is already obvious and what might perhaps remain invisible. Many thanks as always to the technical department of the Van Abbemuseum for their tireless efforts over and above the museum s main programming, to the museum s curators and innovative teams for their support as well as the dedicated artists and contributors for their personal and professional interest in their projects. Also to Carli Hyland for her dedicated attention to detail and invaluable work on each issue of the newsletter and project that I put under her nose. THE GARDENER S LAST SONG by JUUL SADÉE WEEKLY/WEKELIJKS: Tea-Garden Performance, tea and cake/performance, thee en cake from/van SAT-SUN/ZA-ZO from/van NOV: Playful Science , Student Workshop/Studenten Workshop with/met Juul Sadée and Joost Bolten , Presentation and Public Talk with Joost Bolten, philosopher and lecturer in Media Studies at the University of Amsterdam/presentatie en public talk met Joost Bolten, filosoof en docent mediastudies, Universiteit Amsterdam NOV: Man And Living Parallel exhibition with works from/met werk van Castor Bours, Iesje Jeuken, Joos Hamer, Olaf Kramer, Joost Bolten, Ans van Berkum, Lucas Kramer, Antonia Frank 28 NOV: Hermits, Wanderers and Other Outsiders 14.00, lecture and public talk with/ lezing en openbare bespreking met Ans van Berkum, arthistorian/kunsthistoricus, publicist, director/ directeur Casa Casla, architectuurinstituut Almere. 19 DEC , domestic meeting between artist, participants and public/tussen kunstenaar, deelnemers en publiek. From 14 November, 2010, Juul Sadée will show her multi-media installation The Gardener s Last Song, 2x15 minutes with Your-space in the Van Abbemuseum Studio. During the exhibition the installation will turn into a situation with a programme of public discussion, a domestic happening, a workshop and a lecture, as well as several tea-garden performances. As a starting point, The Gardener s Last Song, 2x15 minutes, is based on the etymology of Eindhoven. Ende and Hova can be translated to Last Garden and The Garden of Eden. The Garden as model for our existence. While working on the project with other contributors, the concept found its way to ideas about man and living, space/time, science, philosophy and art, crafts and design, based on personal relationships with the city of Eindhoven. All these aspects together are incorporated in the multilayered nature of Juul Sadée s work with domestic ideas, network theory and a holistic view on the world. Feelings of being rootless and alienation are evoked by the multi-medial spatial experience. The project includes a new publication: Book of The Gardener s last song;, particles, patterns and passions, by Juul Sadée. Vanaf 14 november, toont Juul Sadée haar multi-media installatie The Gardener s Last Song, 2x15 minutes bij Yourspace in de Van Abbemuseum Studio. Tijdens de tentoonstelling verandert de installatie af en toe in een situatie waarin een openbare bespreking, een huiselijke bijeenkomst, een workshop, een lezing en verschillende tea garden performances zijn gepland. Uitgangspunt van The Gardener s Last Song, 2x15 minutes, is de etymology van Eindhoven. Ende en Hova kan worden vertaald als Last Garden en The Garden of Eden. De tuin als model voor ons bestaan. Tijdens het werkproces waarin verschillende mensen participeren, ontwikkelde het concept zich naar gedachtes over de mens en het leven, tijd-ruimte, wetenschap, filosofie, kunst, handwerk en design, gebaseerd op persoonlijke verhoudingen tot de stad Eindhoven. Al deze aspecten worden verenigd in het multi gelaagde karakter van Juul Sadée s werk met domestic ideëen, netwerktheoriën en een holistische kijk op de wereld. Gevoelens van ontheemd zijn en vervreemding worden opgeroepen door de multi-mediale ruimtelijke ervaring. Deel van het project is de nieuwe publicatie; Book of The Gardener s last song; particles, patterns and passions, door Juul Sadée. The interaction with the participants gave reason for some side-activities. / De interactie met de participanten gaf aanleiding tot een aantal nevenactiviteiten. C THE GARDENER S LAST SONG 2X 15 MINUTES / Juul Sadee 14/11-2/1/11 Opening 14/11/10, 14hrs Van Abbemuseum Studio (B-1)
4 TV S, particles, patterns, passions, identity, TREES, virtual spaces, CHANGING LIGHT, connections, inter-human relations, FABRICS, redefining, requestioning, SCALE-MODEL, 3 actors, watching, whispering, GREEN BLUE BROWN, interaction, what do we do, COCOON, reflecting images, DIMENSIONS, cycle, disorder, WORDS Juul Sadée, Public Space Act, 2010
5 INTERVIEW INASS YASSIN & CLARE BUTCHER (Your-space curator) Clare Butcher: What is your relationship with the Al-Walid Cinema? Do you remember the cinema growing up? Or is it something you ve only become interested in as you came and went from Ramallah over the last years? Inass Yassin: Generally, I find myself concerned with urban transformation as I live and experience the changes in private and public space around me. I didn t have memories of the Al-Walid cinema as it was closed before I moved to Ramallah. Once, while it was closed to the public I managed to get in. When I went in, I found the poster of the Arab movie Abi Fawk Eshajarh released in The poster provoked a lot of questions in my head that led me to continue tracking the public culture around this, and the movie theater as a public space, as well as the role of a poster as a medium for communicating within that space with a very specific aesthetic of that period and part of collective memory. Al-Walid Cinema before demolition in Photo: Inass Yassin CB: How are these issues important for a greater discussion concerning space in Ramallah? IY: Ramallah is the temporary capital of the contested Palestinian state. I want my work to talk about the space inside the city of Ramallah, with all of its changes and rapid development and investment projects. The space inside the encircled city like all Palestinian cities is limited because of the surrounding network of Isreali bypasses and settlement network. So space: its demolition and reproduction is critical. CB: The Projection project has multiple editions. Why is this important for you? And why, when it seems like such a site and context-specific project in terms of the complexity of the Ramallah urban situation, would you reinterpret this material to share with other audiences who have a very distanced understanding of this complexity? IY: The first edition took place in Ramallah as an invitation to make people involved in what is happening in public space there. So the edition took place as a public intervention, using the poster as the main medium. The cinema had already been destroyed and there was no screening there. The posters were torn down and removed from public spaces and I had to turn off the sound installation (which was the soundtrack of Abi Fawk Eshajarh) because the owner didn t want a group of people around his cinema. The Screening Failed edition developed out of this, and aims to present vanishing space in relation to the social change in society and recontextualise that situation in Eindhoven. CB: You have been involved in the CAMP (Contemporary Art Museum Palestine), which is a nomadic institution because of what a museum and a collection could mean for a future nation state of Palestine. What work were you doing with them? IY: I was working on preparatory foundation proceeding from the project, which was launched in I worked for a while on the foundation issues, and I m involved as an artist too. The project as museum comes out of the physical, geographic particularity, which is indivisible from discussion of Palestinian identity and the State in some way. The migration of this project will create a network with other institutions in organic, live activities such as the Play Van Abbe programme. Showing my Projection project is part of this engagement with Dutch discourse in relation to the space and socioeconomic dynamics in the Palestinian society. CB: As you focus on space, psychological relationships to environments and the city, what happens to your work when you seem to belong in so many different places? You have lived in the UK and travel on residencies often - what does this do to your sense of belonging and geography? And how does this show in your work? IY: I am able to see the city as the place where I live, through dynamic interaction within public space that is being destroyed, through the reactions to the sound installation of the film, and the responses to having posters in the city. When I m in different contexts, I try to understand how the places change. in my current residency in Cittadellarte-Fondazione Pistoletto, Biella gave me the chance to explore different manifestations of change in popular culture in Biella. It has a different mechanism of change that relates very closely with my work through the closing of factories in the city due to new conditions of mass production and a globalised market. I have been exploring the manufacturing history in the city as well as the hand-printed production of icons and prototypes that helped to interact with that change. CB: What is special about Abi Fawk Eshajarh? This film was the last poster in the display cases of the cinema before it was demolished but are there any other connections with the film s content which you feel relate to your project more broadly? IY: What makes this film special is the impact it had when it was released. The film was so popular in the late 1960s. It is a reminiscent icon from that era with its star, the prominent singer, Abd Haleem, fashion styles, music and social relations, which really resonated with Palestinian society at that time as a part of Arab culture. Inass Yassin, was born and lives in Palestine. Yassin is producing a body of work that deals with concept of transformation on a private and public scale. Her field of research involves spatial and social change and the manifestation of these using different media such as paintings, photography, and video. She has showed her work in Palestine and abroad New York, Leipzig, Oslo, London, Dubai and Amman. In addition to residencies in Brazeirs, UK 2006, Makan,Jordan 2008, and Citadellarte, Italy 2010 she has also worked as a Coordinator for CAMP (Contemporary Art Museum Palestine) with the Al-Mamal Foundation, Jerusalem and Van Abbemuseum,Eindhoven.[http:// inassyassin-projection.tumblr.com] Inass Yassin installing in Studio, Van Abbemuseum Photo: Clare Butcher Abi Fawk Eshajarh (My Father In The Tree), an Arab film was announced by a poster campaign to be screened at Al-Waleed Cinema on the 12th of July 2010, at 8:00pm in Ramallah & Al-Bireh. Due to specific circumstances the movie was not projected. Projection is an on going art project by Inass Yassin that raises questions on the changing space, politics and social values. In relation to the cinema culture in Palestine, this project explores the signs of demolition around a cinema building in the city of Ramallah & Al Bireh And the repercussions of changes to the urban landscape at different levels of the Palestinian society. The project produced different editions for local and international exhibitions: - Projection.edition exhibition, Ramallah the fairest of them all? - Projection.edition at Your-Space at Van Abbemuseum - Projection.edition at The Jerusalem Show in Partnership with Al-Housh Palestinian Art Court. Projection, 2010, invited the public to attend a projection of Al-Waleed Cinema. During the first edition of the work, posters of the Arabic film: Abi Fawk Eshajarh (1969) depicting the stars: Abd Haleem Hafez, Nadia Lutfi and Merfat Amin, were spread around Ramallah and Al-Bireh, advertising a screening at Al-Waleed Cinema. The poster used was the same as the last poster in the cinema s display windows before it was demolished. Edition also included a sound installation set in the partially demolished space of Al-Waleed Cinema. From September to October, 2010 together with Your-space, Inass Yassin presents a new edition of Projection with a new publication in the Studio of the Van Abbemuseum, entitled: Screening Failed (book launch with screening of Abi Fawk Eshajarh in October, 2010). Screening Failed. Installation view, Studio, Van Abbemuseum Photo: Bram Saeys
6 SCREENING FAILED INASS YASSIN (below) Screening Failed/Afgelast Courtesy of Inass Yassin. Screening Failed. Installation view Photo: Peter Cox. Screening Failed. Projection on Lucas Gasselstraat Photos: Clare Butcher C PROJECTION EDITION 1.01 SCREENING FAILED / Inass Yassin 25/9-24/10/10 in the Studio, Van Abbemuseum Special screening: 25/9/10 19hrs, Lucas Gasselstraat