The current exhibition From what will we reassemble ourselves at Framer Framed centers on the representation of the genocide that occurred in Srebrenica and its surroundings in Bosnia and Herzegovina 25 years ago, but also focuses on the more structural question of the representation of graphic violence. We spoke with curator Natasha Marie Llorens.
Iriée Zamblé declares her entry in the art-world with confidence:‘kicking in doors’ and smashing through glass ceilings, she “takes up space” as “a form of protest”. All the while she wonders: what will pushing against the grain now mean for Afro-Dutch artists in the future? Alyxandra Westwood visits her at Museum Het Rembrandthuis, where she is currently on residency.
During a residency program in Chemnitz artist Semâ Bekirović dives into the GDR-history of the town. A relief depicting the revolution of the German working class by Johann Belz catches her eye: for weeks she is occupied with making a silicone impression of it, ‘an unfilled mold as a monument to the maker, that could (potentially) be filled with anything’.(ENGLISH VERSION HERE)
In 1646 The New Testament has become an underwater operetta. Artist Agnes Scherer elaborates: ‘the religious realm that Christ has to offer is literally a submerged state. That's why I thought his followers had to be a group of divers who follow him so far that it gets dangerous.'
Many will know her from last Jan van Eyck Open Studios, where she was cleaning the windows of the building while filming the viewers. In all her work Youngeun Sohn explores a daily practice that remains largely unnoticed. Her latest collaborative work with artist Niina Tervo called Dinner in the Forest Garden will be presented at Salon de Normandy in Paris later this week.
