‘We need to talk’ – Nest and Zaal 3 organise a panel discussion about the Andeweg case

Marsha Bruinen

​If the Andeweg case and its aftermath make one thing clear, it is that safe working environments in the visual arts sector are far from being the norm. Yesterday evening Heske ten Cate (Nest) and John de Weerd (Zaal 3) headed up a carefully prepared panel discussion in which they were joined, besides by the journalists of the NRC, by a lawyer, a detective from the vice unit, a confidential counsellor and a project leader. The key focus was on the question: how can we adequately protect victims?

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On the representation of violence: in conversation with curator Natasha Marie Llorens 

Nesli Gül Durukan

​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.

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Play and Fight: Iriée Zamblé and the importance of taking up your space  

Alyxandra Westwood

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.

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An impression of the past – artist Semâ Bekirović on the making of 'Übersetzungen' (translations)

Semâ Bekirović

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)

 

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'I'm interested in all forms of object theatre as a way to lend artifacts agency’ – in conversation with artist Agnes Scherer 

Lena van Tijen

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.'  

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Metropolis M Magazine for contemporary art No 5 — 2020