This week at San Serriffe:
24.09.2016 NNTR Presents: Nueni Records Label Night ft. Oier Iruretagoiena
act at 21:00
Oier Iruretagoiena’s (Errenteria, Basque Country, 1988) artistic output lies halfway between sculpture, sound and text. His sound work focuses on composition, installation and site-specific intervention. He has played in Ertz Festival of Other Musics, Elektronikaldia, Zarata Fest (Basque Country), Cicle HUM, L’ull cec, LEM Festival (Barcelona), Jiada (London) and Tuned City Festival (Berlin), among others. His work has been released by labels as Zeromoon (USA), Test Tube (Portugal), Obs (Russia), Rhizome.s (France) or Nueni (Basque Country). He collaborated by composing soundtracks for dance, theatre, radio and audiovisual works, and as a promoter, is one of the coordinators of the Le Larraskito Club of Bilbao.
15.09.2016 Launch of ULTRA VIRES by lightreading
with an introduction by lightreading (Sarah Rose and Sonya Lacey)
Ultra Vires is a series of architectural propositions toward a fictional, socially progressive nightclub complex. Each room in the club was designed by an individual architect and the building coalesces in the pages of the publication. We inhabit the space at 7.00am when the evening is winding down.
With the aim of imagining what we have trouble practicing and practicing what have trouble imagining, Ultra Vires rematerialises a necessary communal space within the built environment—an idea that is echoed throughout its design and production process.
Contributors include Hera Lindsay Bird, Angela Cho, Abbey Gould, Sukaina Kubba and Craig Mulholland, Nick Rebstadt, Raphaela Rose, Amber Ruckes, Susana Torre. The publication was co-published by lightreading and 8fold. The cover image is a detail of a dance floor proposition by architect Raphaela Rose.
lightreading is the collaborative identity of artists Sarah Rose and Sonya Lacey.
11.09.2016 San Serriffe @ W8
At W8, San Serriffe will be screening two films by the Estonian cartoonist and animation film director Priit Pärn, followed by a DJ set by Nearly Not There Records, San Serriffe’s resident record shop.
Priit Pärn (1946) grew up in the small rallway town named Tapa where he spent a quintessential childhood in Soviet Estonia. As the only Estonian family in the area, the Pärns lived a life on the border between two worlds. In contrast to the conservative and sophisticated traditions at home, the young Priit enjoyed an uninhibited and liberal social life outside the house. This is likely the source of his peculiar sense of black humour, which he would later refer to as ‘fun tragedy’.
Priit Pärn studied to become a botanist but turned to making cartoons and animation film making in the 70s, and he is one of the most influential animation film makers living today.
San Serriffe will be showing two films by Pärn: Time Out (1984) and Breakfast on the Grass (1987).
10.09.2016 NNTR x Bar None presents: Mini Rave at San Serriffe
In Store DJ Sets by:
08.09.2016 Open again Thursday September 8
After a long summer break, San Serriffe is open again from Thursday September 8 onwards.
New opening hours: 1—7 on Thursday, Friday and Saturday.
Hope to see you soon!
01.08.2016 Summer break
San Serriffe is taking a summer break until the end of August.
30.06.2016 Amsterdam launch OUR FORM OF BOOK by Paul Gangloff and Our Polite Society
with a reading by Tim Voss, and a talk by Anya Naumova and Kirill Blagodatskikh at 8.30pm
Because of the books, the backpack is heavy, and when lifted up to be placed on the shoulders, it causes the muscles in the lower back to stretch painfully. The books add to the weight of the MacBook Pro — 4.3 kilograms for this generation. All together, probably around eight kilograms; not much for a properly exercised body, a yoga-body, a fitness-club body. But for tired bodies, tensed and worried by the constant solicitations for its attention (*dling*, *alert*), alternating phases of frantic cycling (*PAS OP*) with the nervous clicking of the finger tips, cycling back, getting food, and finally caressing the touchscreen while processing wine, apathetically motionless, twisted on a couch, immersed, surrendering its soul to the spells of Home Box Office … that is some weight.
Some books are brought just in case. Most often it’s sufficient to take these out of the backpack and put them on a table. To display their availability. Sometimes, they are being browsed, a gesture to signify the desire to start a brief conversation across the table. The books serve as the device (a prop of the society of spectacle) facilitating contact across the table. Sometimes that is the beginning of a transaction, in which books are sold for money.
Other books must be returned to the library. For a while now, they should have. Each of them is pulling down the bag, and lifting it on the shoulders adds to the pain of the lower back. The library isn’t so far away, it is actually centrally located, but there is no time to return the books. Rush, acceleration again, taking off the backpack, putting on the backpack. All this to put things (books) back in their place. Back to the status quo of the library, the depository. If the library allows for a motion, it is that circular motion of the body carrying the books (with the enthusiasm of the books’ promise) and returning them (with some sense of guilt, followed by a feeling of relief — everything is back in its place).
Blank dummies count as a books. They act as if they were a book. They weigh almost as much as a book, except for the few grams of thread and glue that they miss. They too, have to be carried in bags. They are the instructions to the binder. They are the examples. They must be brought. Despite their total blankness, they carry information.
There is a pocket book but it is not carried in a pocket. It was slipped in the backpack and made its way, during transportation, to the bottom of the bag, where the smaller objects meet. It shall be read at last, before the lights go out.
The back rests on the mattress, the arms on left and right fence off the world, forming a space that includes two pages of the book, the thumbs, arms, shoulders and the face. This spherical space is divided in left and a right, each composed of one page, one thumb, one arm, one shoulder, one eye and one cerebral hemisphere. The spine of the book mirrors the spine of the reader, the two poles of that sphere. The book makes the hands turn the pages and the eyes go over the words.
Before the body closes the books and the eyes (or: while watching the body of Kevin Spacey playing near death on the 13-inch screen of the MacBook Pro), the old thought arises that the books might survive the human bodies carrying them around. As physical artifacts, books are more likely to survive the catastrophe of modernity than human bodies. Yet books need humans to reproduce (the opposite is less sure). Without readers turning into writers, editors, publishers, designers, printers, and binders, the population of books would stagnate and remain immobile.
Perhaps, books would rather rely on a network of machines in order to be read, written, edited, published, designed, printed, bound and transported. For now, we still carry out these tasks and carry around the books. The weight of the books and the aches of the back are reminders that just like books, we have spines.
We know that today, and for a while already, different forms of the book—with and without spines—coexist. But we shall be satisfied if we can conceptualize the epic and lyric developments of our times in our form of book.
OUR FORM OF BOOK consists of four parts thematically based on a rather visionary text about the future of books written by El Lissitzky in 1927. Each part was developed in collaboration with a guest editor: THE WORKERS’ CONSCIOUSNESS with Delphine Bedel; POSTERS IN THE STREETS with Anya Naumova and Kirill Blagodatskikh; THE CONSUMERS’ DEMAND with Tim Voss and OUR CHILDREN’S READING with Will Holder. The project was initiated upon invitation of Extrapool, who hosted the working sessions and produced the publication.
23.06.2016 Launch of MY WAVY SARONG by Jasper Griepink
20:00—22:00For the presentation of My Wavy Sarong at San Serriffe, Jasper Griepink will be collaborating with Maia Lyon Daw to conjure an interactive and exploratory sound and narrative landscape. Free-style slam reading, field recordings and traditional Indonesian Gamelan music enter into in the mystical journey of My Wavy Sarong.My Wavy Sarong (2016) is an animistic and sensual short novel in which the reality of a white western youngster with shamanic aspirations meets up with the current reality of Indonesia. In the story line, a tension is created between the free appropriation of exotic cultural elements as a means to make the world more magical and free, and the awareness that this doesn’t always work out. During the travel, the protagonist discovers that the spiritual ‘self-development’ of the West is in fact deeply rooted in an early-colonial esoteric philosophy. Via dialogues with granite temple-complexes, cute boys, snake-spirits and various traditional rituals, the spirituality and sexuality of the author are reflected against his experience of the South East Asian country.
22.06.2016 Launch of AGLAIA KONRAD FROM A TO K
Camiel van Winkel in conversation with Aglaia Konrad, Linda van Deursen, Armand Mevis and Willem Oorebeek at 8.30pm
followed by a screening of Konrad’s new film La Scala
Aglaia Konrad roams through cities on all five continents. Through photos, films and installations, she not only focuses on exceptional buildings and the way cities transform, but also on representations of big cities and the role of photography therein.
Structured and typeset like an encyclopedia, Aglaia Konrad From A to K draws out and explores the plastic and aesthetic possibilities of the reference book format. It indulges in a certain fascination for lists and their cumulative force while seizing upon the fact that alphabetic organization is extremely orderly, but also, upon reflection, entirely random. The book explores this in-between space and thwarts the self-evident integration of component parts in the reference work.
Aglaia Konrad From A to K is published alongside Konrad’s first major solo exhibition in Belgium at Museum M, Leuven, is designed by Mevis & van Deursen and features contributions by Friedrich Achleitner, Hildegund Amanshauser, Emiliano Battista, Elke Couchez, Penelope Curtis, Koenraad Dedobbeleer, Michiel Dehaene, Steven Humblet, Moritz Küng, Willem Oorebeek, Spyros Papapetros, Angelika Stepken and Edit Tóth & Stefaan Vervoort.
15.06.2016 THROAT AND COLUMN — an exhibition in two parts by Claudia Pagès
part of A Festival of Choices, Sandberg Institute’s Fine Arts department’s graduation show
with a performance at San Serriffe
followed by ‘special’ drinks at Rongwrong
on Thursday June 16 at 8pm
Throat and Column is an exhibition in two parts.
At San Serriffe the written and the oral are exchanged in the threads of a narrative that passes through individualising architectures. Talking and swallowing. Talking and fucking. The solo voice and the choir are separated, as in Ancient Greek theatre, but still they support each other.
(Some pharmacies have rooms to talk and don’t clog, but they are too similar to therapeutic institutions. And my friend, who swallows way too much, can’t pronounce things accurately but loves to groove with others – and so do I.)
At Rongwrong, objects continue the talk. Continuously in dialogue with themselves, their insides and outsides, they maintain a constant groove.
(Displays and mechanisms for encapsulating doses and words meant only for you – like techno-thoughts, drawn to stay in the greyness of their function.)
Sint Annenstraat 30, 1012 HE Amsterdam
Binnen Bantammerstraat 2, 1011 CK Amsterdam
Throat and Column is part of A Festival of Choices, the graduation show of Sandberg Institute’s Fine Arts department which is taking place in various locations throughout Amsterdam from June 15—19.
For more information and the full program, please check www.festivalofchoices.nl