1. Pillars of Autumn: The Gods Must Be Crazy
- 10. 7. 2021
- Framer Framed
"Pillars of Autumn is a multidisciplinary Amsterdam-based collective consisting of four members: Tobi Balogun, Walter Götsch, Wes Mapes and Dion Rosina.
Gathering is central to their practice of sharing references, sounds, laughter, tools and strategies. This gathering is a sonic outburst and a jam session, and aims to provide the visitor, dancer and collaborator a glimpse of the energy when Pillars of Autumn is working or chilling together in their space."
4. Amy Pekal and Marit Mihklepp: On the Nature of a Name
- 16. 8. 2020
- outside of the Hortus Botanicus Amsterdam
"When a universal system takes precedent over the particularities of ecologies, complex systems become covered up, disconnected and unmade. The Western knowledge of plant uses is gathered not by listening to the plants themselves but by an instructional knowledge of utility. Artists Amy Pekal and Marit Mihklepp create a playful performative lecture entitled On the Nature of a Name that investigates the etymology of plant species. With the use of the Latin and indigenous names in the Hortus Botanicus Amsterdam, Pekal and Mihklepp draw attention to the relations between plant species and how they might communicate and evolve with each other. The performance, operating alongside Framer Framed’s exhibition On the Nature of Botanical Gardens, embodies decolonial lens to challenge the garden and begins to make efforts in the reparations of lost indigenous knowledge within the institutions botanical collection."
5. Performance by Dayna Martinez Morales
- 20. 6. 2019
- Tolhuistuin
"An ArtEZ graduate, Dayna will soon be an artist-in-resident at Plein Theater, one of our new ‘neighbours’ in Amsterdam-Oost! In her work, she explores connections between old & new forms of culture, identity, ritual and transformation."
6. Pop-up performance by Chronos
- 20. 6. 2019
- Tolhuistuin
"Pop-up performance by Amsterdam-based collective Chronos, of their piece MoreLess! The collective, comprised of four young dancers, is known for their time-related and social themes. Their work is physical, theatrical and poetic, always with the body as the main instrument of expression."
7. Milena Bonilla: Poisoned: Behind that Grid There is a Maze
- 30. 6. 2019
- Framer Framed
"For her performance, artist Milena Bonilla addresses the exploitation, criminalisation, synthetisation and isolation of Opium. She takes an Opium Poppy field as a starting point, which consecutively transforms into a territorial wall, a horizon, an overhead view and the sexual parts of a staged character. In a broader sense, Bonilla addresses the reproduction of war and the colonial imposition of cash crops in different zones from the Global South —including but not limited to Colombia."
9. Antonio Jose Guzman: The Supreme Exodus
- 27. 9. 2019
- Framer Framed
"From Masquerades to Cultural Resistance. The Black Atlantic is the last performance from The Supreme Exodus Trilogy - Opening of Framer Framed Amsterdam.
Spatial Sonic Structures, Genetic Textiles and Body Movements. Biomodulator units of pilgrimages, processions, temporary gatherings and journeys between the tangible and intangible, through the archaeology of Havana, Groningen and Amsterdam.
A performance by Antonio Jose Guzman - Opening of Framer Framed’s: Elsewheres Within Here - Curated by Jo-Lene Ong. Elsewheres Within Here investigates what we welcome, refuse, or overlook in marking the boundaries of spaces we call ‘home’–our bodies, houses, and countries." (https://www.aguzman.com/exodus-framer-framed/framer-framed)
14. Giulia Crispiani, Golrokh Nafisi and Ahmadali Kadivar: Manifesto Against Nostalgia
- 24. 11. 2019
- Framer Framed, outdoors
"Manifesto Against Nostalgia sets out to question the usage of the word ‘nostalgia’ in relation to the current socio-political rhetoric that relies on the glorification of—and a sort of nostalgia for—a past that never truly existed. The project responds to increasing xenophobic tendencies, that are emerging in a variety of different contexts worldwide. Earlier iterations of the work have taken place in Tehran and Rome, being translated from English to Farsi and to Italian. During the Amsterdam Art Weekend, Manifesto Against Nostalgia finally arrives in Amsterdam, to be shared in its Dutch version. Each time the project travels to a new city, it shapes itself according to local context, language and traditions. The performance and installation happens in collaboration with local folk musicians, informed by longstanding traditions combining music and enunciation, departing from the universal image of a town crier who shares announcements with a music register. The performance adopts a site-specific linguistic form each time, from manifesto to poetry, from religious ritual to chant. The audience is invited to become an integral part of the event, as witnesses of this nostalgic dissidence."
15. Alexis Blake: Anthology of Anger
- 11. 2. 2018
- Lab 111
"Anger is present. It is palpable in the streets, among the crowds, in exchanges; it is the driving force that is pushing one into action. It is an emotion that still carries taboos and stigmas regarding gender, class and race. Anger is convoluted and expressed through or suppressed by psychological, physical, cultural and socio-political factors.
On the occasion of the exhibition Some Things Hidden at Framer Framed (on show from 19 January – 11 March 2018), artist Alexis Blake presents the first phase of her new performance, Anthology of Anger, which explores how culture, history and DNA influence one’s expression or suppression of anger and empathy, verses the body’s authentic movements of these emotions.
This iteration of the performance will take place in the artist’s studio (Mauritskade 61, Amsterdam) on Sunday 11 February at 4 PM. The performance connects to the work Research drawings for Anthology of Anger (2017-ongoing), which is shown in Some Things Hidden at Framer Framed.
What do our intuitive movements say about the knowledge we store in our bodies? How do we postulate using our limbs? Is my anger my own, or is it inherited? Through the performance Blake collectively examines the relationship between ‘prescribed’ anger and empathy and their intuitive expression. By embodying these emotions and expressing them physically, as opposed to verbally, she attempts to free the more sensory and intuitive aspects of our behaviour.
Performers: Mami Izumi, Marika Meoli and Alexis Blake
Anthology of Anger was also performed during the first part of exhibition Some Things Hidden, which was on show at Castrum Peregrini in November 2017, during Amsterdam Art Weekend."
16. Amal Alhaag and Maria Guggenblchler: Pedagogies of Violence, Pedagogies of Care
- 15. 5. 2018
- Framer Framed
"Pedagogies of Violence, Pedagogies of Care discusses how in collective, transformative practices, violence and militancy often fall together with care and love. Militancy toward the outside, toward the oppressive structure, the violent system, state violence. Toward patriarchy. Toward white supremacy. Toward colonialism. How are these structures warping daily lived experiences and what connections of care and friendship nurture and sustain activists, cultural producers and organizers?
Violence and care seem more than a mind can hold, paradox positions that come together simultaneously and frequently when one is confronted with structural injustice and violence. ‘All oppressed people have a right to violence,’ civil rights activist Flo Kennedy posits in the film Born In Flames. ‘It’s like the right to pee: you’ve gotta have the right place, you’ve gotta have the right time, you’ve gotta have the appropriate situation. And believe me, this is the appropriate situation.’
Together with our guests, we will talk about, listen to, think about, dance to, collective acts which resist, refuse and disrupt white supremacist hetero-patriarchy in manifold, multi-strategic ways. Acts and practices of broadcasting towards one another and across differences, acts of cross-gender, cross-race alliance between diasporic, interstellar groups, acts of communal care, friendship, nurturing and organizing; and acts of hope"
17. Suat Ögüt: The First Turk Immigrant or the Nameless Heroes of the Revolution
- 30. 9. 2018
- Werkplaats Molenwijk
"[A]rtist Suat Ögüt will drive his mobile work, The First Turk Immigrant or the Nameless Heroes of the Revolution (see picture), from its current position at the IJriver bank further north into the Molenwijk! The journey is an artistic imitation of the format of a public demonstration, and artist Suat Ögüt encourages people to join and bring their own banners.
Arriving in Molenwijk, the finissage coincides with an opening: of Framer Framed’s new project space, Werkplaats Molenwijk, for local residents interested in arts, culture and heritage. Ögüt’s work will be stationed in front this new space, with a new installment added to the work, focused specifically on one of the portrayed migrants: activist Şengül Köker. In the 1980s, Köker fled from Turkey to Switzerland for political reasons. She remained politically active as a member of the Swiss communist party in 1983, and created many political banners during this time. A selection of these will be presented as part of the artwork, combined with artistic responses by the students of Over-Y College and teacher Marteen Koole. Köker herself will be present at the opening."
21. Glukyla: Report from Prison. An unusual round table discussion
- 29. 3. 2017
- IJzaal, in the Tolhuistuin
"Russian artist Gluklya is currently renting a studio at the former prison Bijlmer Bajes, in the part of the building which is now called Lola Lik. There, she is working on establishing a collaboration with the refugee community at the temporary Center for Asylum Seekers ‘AZC Wenckebachweg’. For her performance at the Tolhuistuin (in the IJzaal – left to Framer Framed) on 29 March 2017, Gluklya invited refugees and newcomers from Syria and Africa as well as several experts from the art scene for an unusual round table talk.
Since August 2016, refugees are being accommodated at the former Bijlmer Bajes by the Dutch government, where they are waiting and hoping for the necessary documents and a house to live in. Until then, they are prisoners, Gluklya notices. She sees how large groups of people who were forced to migrate, now must deal with all kinds of rules and sophisticated bureaucratic rituals. Some of them are sad and devastated, often ill and crying; some of them lost everything. Some of them are less devastated; more joyful, eager to start a new life, for example through new work or study. The newcomers are waiting endlessly; frustrated, tired, anxious. But also: dreamy, joyful and hopeful about a new life in The Netherlands. Gluklya has started a new long term project with these migrants, exploring what role art and culture can play in the progress of integration. The project is called the Utopian Unemployment Union of Amsterdam-Language of Fragility. Over the course of this year, Gluklya is organizing workshops and performances at Lola Lik with refugees from the Center for Asylum Seekers. At the end of 2017, the project will conclude with the Protest Carnival of the Oppressed Feelings.
The performance on 29 March is the result of a challenging process of establishing a first dialogue with refugees, overcoming an important obstacle: the maze of bureaucratic rules and laws of the state. The stories of the refugees will be told by artists and the artists’ stories by refugees. Nobody is thus portraying themselves completely. Mirjam Westen, the moderator, will be the only one who never will wear a mask."
22. Pedagogies of the Opaque (I): Black Schools: Learning for and by Black Futures with guests Negarra A. Kudmu and Maikolyo Alley-Barnes, hosted by Amal Alhaag and Maria Guggenbichler
- 17. 10. 2017
- Framer Framed
"I used to wonder
About living and dying
Pedagogies of the Opaque (I) is the first gathering in a series of public research events for, with and about ex-centric cultural, communal and collective practices and thinking. However make shift or short lived these may be, ex-centric practitioners create for themselves and for their communities structures of coping & thriving – within a world in which their survival was never intended nor a priority for institutions and society.
I think the difference lies
Between tears and crying.
These pockets in space and time that ex-centric practices create for storytelling, learning, sharing and archiving are often also acts and places of resistance, waywardness, refusal and opacity – as well as sources for joy and laughter.
I used to wonder
About here and there
The gatherings facilitate an ongoing and public critical discourse, a circulation of knowledge, meaning making, cultural presence and agency, reading and representation of how culture and art are produced in our globalized societies. In which ways have ex-centric, minoritized, racialized and radical practices reframed and informed themselves with (inter-generational) collective strategies of learning, sharing and joy that contribute to the survival and well-being of their communities, experiences as well as cultural archives?
I think the distance
Is nowhere."
24. Antonio Jose Guzman: El Órgano Oriental (ELOO)
- 11. - 14. 2. 2016
- an Nellefabriek Van Nelleweg 1 3044BC Rotterdam
"Artist Antonio Jose Guzman presents his installation El Órgano Oriental (ELOO), a unique combination of genetics and art. The project features punch card piano rolls of music for the organ created from Guzman’s own genetic DNA, which is indigenous, African and Spanish Sephardic. The project was first presented at the 2015 Havana Biennale, and is now adapted to the Dutch context, including a classic Dutch organ. Artist assistant: Janna Adriaanse. "
27. European Souvenirs: €urovisions
- 29. 4. 2016
- Framer Framed
"For the occasion of the opening of Voices Outside the Echo Chamber: Questioning Myths, Facts and Framings of Migration, European Souvenirs will delve into recent footage and archival audio-visual material related to issues of migration and border control, revisited during an artist residency one week prior to the exhibition. The hour-long performance €urovisions is an audiovisual journey through their re-interpretation of European institutional archives, aiming to capture the views of a new generation of media-makers addressing key concerns and recent developments on border control and migration.
€urovisions is presented within the framework of the exhibition Voices Outside the Echo Chamber: Questioning Myths, Facts, and Framings of Migration. The performance also coincides with the opening of Beeld voor Beeld film festival and is supported by Ongekend Bijzonder and European Cultural Foundation.
In 2012 European Souvenirs premiered in Amsterdam and has been travelling to different cities in Europe since. Their live cinema performance €urovisions is a longterm collaborative project together with @DocNextNetwork, an initiative of the European Cultural Foundation, curated by @ZEMOS98."
28. Filthy Mouth, Dirty Politics #2
- 19. 8. 2016
- IJzaal
"Filthy Mouth, Dirty Politics’ experiments with transgressive speech acts, filthy, vulgar language, radical feminism and digital (non) spaces – uncompromisingly giving stage to the outspoken self-representation of minoritized identities. How can we speak #carefree and combine our shared critical dissatisfaction to arrive at a collective potentiality? In what ways can we move beyond the policed and gendered language that is imposed on people?
‘Filthy Mouth, Dirty Politics’ questions and plays with the format of the conference within art and academia – and the limited languages, knowledges and experiences which can be exchanged within it. Staying true to its intention to “confer”, ‘Filthy Mouth, Dirty Politics’ facilitates a joyful and non-hierarchal space in which every guest is a speaker and all opinions and experiences are valued; audience, guests and organizers are invited to come together and discuss, think, listen, dance and learn together.
The conversations, seminars and workshops aim to shift and mess with the “conference”, and create a space to radically exchange, commit and share experiences and narratives around minoritized identities and the disobedient, dirty or vulgarly coded and futuristic languages to make space for non-dominant voices and narratives to speak and create for themselves.
For this edition of the anti-conference conference, Maria Guggenbichler and Amal Alhaag invite artist and activists such as: Raju Rage, DJ Haram, Jabu Arnel and Felicia von Zweigbergk to contribute to the program at Framer Framed."
29. Straatpraatj(i)es: Onthoud jy nog
- 29. 8. 2016
- Steve Bikoplein, Amsterdam
"As part of the exhibition Re(as)sisting Narratives (2016) at Framer Framed, Burning Museum will host a public intervention in the Transvaalbuurt in Amsterdam East. The public intervention consists of them installing the on-site work Onthoud jy nog, an expansion of the installation Remember to Onthou at Framer Framed. It continues the exploration of subaltern histories in context of the Transvaalbuurt, a neighbourhood which was built in commemoration of the relationship between the Dutch and their descendants in South Africa.
We will start at Steve Bikoplein and continue onwards to Pretoriusstraat and Krugerplein, as the collective tells us more about their practice, specifically in the context of Transvaalbuurt in Amsterdam. Everyone is welcome to join in."
34. Voice Over Noord, Part I (23. - 26. 3. 2015) and Part II (Bus tour, 27. - 28. 3. 2015)
- 23. - 29. 3. 2015
- Amsterdam Noord
"Voice-over Noord will bring live performances and discussions into a public space and buses in Amsterdam Noord. This program wants to artistically remap and give a voice-over to Amsterdam-Noord. A similar project was done for the first time in Sanandaj, the capital city in the Kurdish part of Iran, initiated by Elham Puriyamehr in 2013. Puriyamehr with an artistic team, including author Özkan Gölpinar and performance artist and filmmaker Ehsan Fardjadniya, will translate this project from Iran to the Dutch situation, making unexpected connections between Amsterdam-Noord and Sanandaj. Topics and questions like: in the search of the voice of “the other”, or how to deal with otherness, are given to the artists as a frame for their performances in public space and the bus. During the public bus tour the artists are invited to engage in a process of re-mapping Amsterdam Noord via the medium of voice-over narration of the city landscape."
37. Performance by Xenson Znja
- part of the event In Dialogue II: questioning the Explorer
- 1. 9. 2015
- Framer Framed
"In Dialogue II: questioning the Explorer is a discursive event with artist Xenson Znja participating artist in the running exhibition Simuda Nyuma – Forward Ever Backward Never and writer/critic David Kaiza. It is the sequel to In Dialogue I, which takes place at August 25th.
During this event we will examine the historically charged relations between European colonialists and Africa. This event is a continuation and an intervention on the colonial and exoticized concepts of “exploring and explorers”. To question the notion of exploration is to question the historization of Africa, and various artists such as Sanaa Gateja’s artistic pilgrimage from Uganda to Scotland have unearthed the legacy of explorers such as Aberdeenshire born explorer, scientist and missionary Alexander Mackay. What is the legacy of European explorers such as Hendrikus Albertus Lorentz, Simon van der Stel and Hieronymous Cruse? Can an artistic pilgrimage contribute to reshaping and taking ownership of African histories and archives?
Contributing artists
In Dialogue II includes a performative lecture by artist Teresa Maria Nerio, a performance by artist Xenson Znja and a column by art critic David Kaiza. This event will conclude the series of public programs that are programmed alongside the exhibition."
38. d’Em’kal Eyongakpa: ??Fullmoons later/ wata kulture II
- 11. 10. 2015
- Framer Framed
"Part of the evening is the performance ??Fullmoons later/ wata kulture II, by d’Em’kal Eyongakpa, that has been developed for the festival Africa Acts in collaboration with FGO-Barbara and Kadist Art Foundation. The performance consists of a 5.1 surround sound experience…soundscapes, vj’ing, spokenword, music excerpts and percussion.
??fullmoons later/ wata kulture II explores the link between characteristic sound signatures of water bodies and suspension rhythm, from numerous ethnic rhythmic variations through contemporary music. Em’kal references Etokobi rhythmic variations (cross-river basin, south west Cameroon), jazz (John Coltrane, Africa/Brass, 1961/ Billie Holiday: Strange fruit ), Amiri Baraka, (Why’s/Wise, 2009) among others and connect this with the ongoing mediterranean crisis…"