26.05.2016 Launch of NAÏVE GOSSIP THEORY by Gianmaria Andreetta
| D | I | S | C | L | A | I | M | E | R |
(Artist) You should look carefully
and critically at the way your work
is turned into gossip
Making gossip is precarious but
it is indispensable
to the artist that works today
Gossip is crucial to
the career of the artwork
Many people will come to you
by the way of gossip
A hot dog walks into a bar and says:
– I’d like a beer.
The bartender says:
– I’m sorry, sir, we don’t serve food here.
28.05.2016 Launch of HAIKU by Rafaël Rozendaal
Between 2013 and 2015, Rafaël Rozendaal formulated a series of haiku as non-physical artworks that jump from one medium to another. Written on his phone, they first appeared as tweets, then as posts on his blog and Instagram, and later as wall paintings in exhibition spaces and collectors’ homes. Published in conjunction with the exhibition ‘DOings&kNOTs’ at Tallinn Art Hall, curated by Margit Säde, this offset edition reproduces Rozendaal’s wry and terse commentary on various aspects of our digital age and society, from full inboxes, oversaturation of information, and hyper-capitalist drive, to mundane routines, desires, and frustrations.
This week at San Serriffe:
14.05.2016 How To Show Up? No.1 Angharad Williams
How To Show Up? No.1 Angharad Williams
Performance starts at 6 pm onwards
For the last year we’ve been thinking about how to show up? What does showing up mean in relation to the spaces we occupy, the characters we play, and the work we make? We have invited artists to think alongside us by exploring the relationship between writing, speech and performance. Through a series of events, artists will present new work at San Serriffe in Amsterdam. Following words written and spoken aloud, How To Show Up? creates a space to test where the breath is headed.
How to Show Up? is a collaboration between Gianmaria Andreetta, Annie Goodner and Elizabeth Graham.
For event each we will publish a handout in collaboration with the artist, designed by Elisabeth Klement.
28.04.2016 Launch of TAXIDERMY FOR LANGUAGE-ANIMALS by Tine Melzer
With a talk between Ilse van Rijn and Tine Melzer and a short reading at 8.30pm
A parrot can be trained to repeat the sounds we make when we speak. But what does a parrot say? ‘Taxidermy for Language-Animals’ examines language fragments from different practices – philosophy, literature, visual art – by exploiting some of our linguistic habits and tools. This book includes examples of ordinary language trapped in images. Games we play with language and games language plays with us are introduced. Like language itself, language-games are based on perception, habit and memory and are played in collaboration with others.
21.04.2016 Launch of SÉANCES by Jeffrey Babcock
“In just two days we’ll be launching Séances, co-authored by Cecilia and myself, with contributions by a handful of people who regularly come to the screenings. The book has been a long time in the making, and had to be updated as history was written, spaces were being destroyed and new doors were being (forcefully) opened. Even though most of the ideas that guide the Underground Cinemas are very explicitly mentioned at the screenings, we thought it was worthwhile to discuss them in depth. The book also follows the trail of countless forgotten movies, of vanishing sectors of Amsterdam, of the deleted histories of un-American cinema, and the past of many of the venues that we gather at to watch movies and dream together.
In the words of Christian Greer, a scholar of American counter-culture, “There is a basis for a social movement, revolution, or expression of people power in the conversations, arguments, and laughter of the people who come to the films Jeffrey programs. For a few brief hours four or five days a week, it is as though we are living the utopia we desire. We taste it, and in so doing we know what it is we are fighting for. This is the secret heart of the underground cinemas.” ”
—from Jeffrey’s e-mail
Jeffrey Babcock is an alternative film curator and cultural activist. For nearly ten years he has been weekly screening independent films in a constantly changing list of underground cinema venues in Amsterdam.
07.04.2016 Launch of YOU’VE GOT BEAUTIFUL STAIRS, YOU KNOW by Ola Vasiljeva
with Chris Fitzpatrick reading a manic letter to Ola Vasiljeva at 8.30pm
You’ve Got Beautiful Stairs, You Know is the fourth instalment in Kunstverein München’s ‘Companion’ series, and was released parallel to Ola Vasiljeva’s eponymous exhibition. The publication’s 100 full-colour and black-and-white pages combine facsimiles of zines, records, and posters Vasiljeva produced collaboratively as OAOA, intercut and overlaid with 35mm slides, drawings, and photographs taken by the artist during the production of previous exhibitions.
During the evening Chris Fitzpatrick, director of Kunstverein München, designer Julie Peeters, and Ola Vasiljeva will verbally disambiguate a projected slideshow of images Johannes Schwartz took of Ola Vasiljeva’s exhibition at Kunstverein München and spreads from the corresponding publication.
24.03.2016 Launch of FINISSAGE by Physical Culture
Launch of Finissage edited by physical culture – Line-Gry Hørup, Julie Héneault Ursula Marcussen and Margaux Parillaud.
With contributions by Raoul Audouin, Jérémie Rentien, Robin Bantigny and Paul Bernhard.
This book is collaborative; a careful mounting of subjectivities. It will attempt to give a woven string of thoughts. It renounces applauding and approving the easy choice of decorating a subject with statements. Promotional labels are the lighthouse of opinion deriving from a history long chained by throwing shade and worry in order to maintain a controlled overview. All things are delicately interconnected, so how to ever fully absorb what ones is really looking at? Boredom makes you do crazy things, and being judgmental is a sign of life. This book renounces the so-called ‘objective’ readers, that from their wobbling towers squints with a grumpy benevolence down at intuition, arbitrary conclusions and wondering agreements between arguments. Going with the flow is soothing but risky. The readers that from pure enlightenment agree to the conspiracy of reason, the fear of entanglement, and the honor of the supreme logical choice, might end up infusing ridicule as a solution to the uncertainty of the best possible option. It is only in your self-interest to find a way to be very tender, and a little knowledge can go a long way. We feel like the contributions, excerpts, and even statements can be used as thinking tools, shared experiences or lazy reading, rather than truths.
We arrived as guests, transformed into hosts, and are contempt to exit with a group unity excited by future prospects.
Julie Héneault, Margaux Parillaud,
Ursula Marcussen and Line-Gry Hørup
The publication Finissage arrives after a residency at the Art Department of Subbacultcha, Da Costakade 150, Amsterdam, curated by Floor Kortman – December 2015 and January 2016. The residency consisted of 3 parts:
1. The opening:
17th of December 2015
For the exhibition space, we produced a handmade quilted wall-to-wall carpet. For the opening we invited for a casual slumber on the carpet.
2. The reception:
31th of December 2015
On New Years day 2015, we invited for a performance on the carpet, consisting of four exercises; warm-up, transitions, stretching and massage. We served a tower of champagne a ‘horn of plenty’ and glazed apples.
3. The finissage:
24th of March 2016
As the last part of our project, we invite you to the launch of Finissage at San Serriffe, a four voices reading accompanied by a music playlist by Lukas Messner.
17.03.2016 Launch of FRENCH KISSES: ON TIPS OF TONGUES, AND FEELING AS TASTE
Celebratory launch of “French Kisses: On Tips of Tongues, and Feeling as Taste”
Edited by Amal Alhaag and Maria Guggenbichler (Side Room)
with the touchy Sound-Lecture “Touching Tones with Tender Buttons” by Olive Michel and Fred Hystére at 8.30pm
The publication “French Kisses: On Tips on Tongues, and Feeling as Taste” emerged out of a project of the same title, which Amal Alhaag and Maria Guggenbichler hosted in September 2015 at the art space District and other places and homes across Berlin. French Kisses was a four day gathering of a group of international cultural practitioners, friends, guests, audiences and organizers. During the four days, we thought about forms of taste which do not stem from separateness, social distance or distinction, but are based on tasting as touching, being in touch, being touched and affected.
During the launch event, Olive Michel and Fred Hystére will present a performance which they developed for the French Kisses days: the collective listening session – with black light and non-newtonian fluids – Touching Tones with Tender Buttons.
Is it us who touch the tones or is it the tones touching us? Through the nightmares of reduction, the dreams of queer seduction, the staying-in-touch and letting go. Of ringing bodies, the languages of joy and fluidifying modes of representation. Hearing as a way of touching distance, distance as a way of listening closely.
“French Kisses: On Tips of Tongues and Feelings as Taste” is edited by Amal Alhaag and Maria Guggenbichler, with an A0 poster by Felicia von Zweigbergk, a script by Olive Michel and Fred Hystére, and contributions by Aline Benecke, Hannah Black, Lotte Meret Effinger, Karlijn Eskens, Anna Frei, Max Göran, Amelia Groom, Janine Halka, Emma Haugh, Isa Hönle, Suza Husse, Fred Hystére, Andrea Caroline Keppler, Lary, Witold Leynse, Anja Lückenkemper, Olive Michel, Gabriele Netzer-Guggenbichler, Nana Owusu-Ansah, Andreea Pavel/D.R.E.E.A, Romy Rüegger, Sodi St. Jean, Lorenzo Sandoval, and Felicia van Zweigbergk.
The performance Touching Tones with Tender Buttons is kindly supported by the Swiss Art Council Pro Helvetia.
11.02.2016 Launch of MECHANICAL SYSTEMS DRAWING VOL. 2 by Mathew Kneebone
with a talk about the history of technical drawing by Mathew Kneebone at 8pm!
“Fully submerged in the damp earth, I was deprived of visual sensation… Perhaps due to the mesmerising emptiness of the black void or else the lack of oxygen, my eyes soon made images of their own. Pulsating wires entangled before me and emitted an eerie green glow before surging brightly then fizzling away like fireworks. This combination of oscillating blotches and meandering lines crept from the corners of my vision like the growing outlines of a nervous system…”
Mechanical System Drawings Vol. 2 brings together a collection of drawings by Mathew Kneebone whose practice encompasses writing, performance, sculptural installation and drawings. As a child, Mathew’s sister was struck by lightning during a family trip, an event which could have triggered the corpus of work Mathew is working on to this day.
04.02.2016 Launch of ALLEGORY OF THE CAVE PAINTING and CROSS-EXAMINATIONS
with an introduction by Mihnea Mircan & Vincent W.J. van Gerven Oei
and a screening of ‘Ultimate Substance’ by Anja Kirschner & David Panos
– A 2010 archeological study found that the prehistoric Gwion Gwion paintings in Australia, whose chromatic vividness contrasts with their age and their exposure to sun and rain, are inhabited by “living pigments.” A symbiotic biofilm of red cyanobacteria and black fungi sustains a process of permanent self-painting, while also etching the pictures deeper into the quartz wall.
Published alongside the eponymous exhibition taking place at Extracity Kunsthal in Antwerp, the texts in the reader ALLEGORY OF THE CAVE PAINTING respond, from a variety of disciplinary perspectives, to an idiosyncratic temporality and economy—or ecology—of signification. Descending from an inscrutable past to the same extent that they are made now, in a radical contemporaneity, the Gwion Gwion are examined as an allegorical metabolism that generates new articulations of “art” and “life,” contamination and purity, prehistory and modernity, bacterial and human colonies, lost knowledge and scientific advancement—collaborative relations between antonyms, altered schemas of “origin” and “identity.”
With contributions by Haseeb Ahmed, Ignacio Chapela, Justin Clemens, Georges Didi-Huberman, Jonathan Dronsfield, Christopher Fynsk, Vincent W.J. van Gerven Oei, Natasha Ginwala & Vivian Ziherl, Adam Staley Groves, Sean Gurd, Adam Jasper, Susanne Kriemann, Brenda Machosky, Mihnea Mircan, Alexander Nagel, Rosalind Nashashibi, Tom Nicholson, Jack Pettigrew, Raphaël Pirenne, Susan Schuppli, Lucy Steeds, Jonas Leonard Tinius, Marina Vishmidt, Christopher Witmore, and Khadija von Zinnenburg Carroll
Designed by Remco van Bladel and co-published by Mousse
– “CROSS-EXAMINATIONS is an exercise in writing, erasing, and rewriting. Its four, increasingly layered iterations interrogate issues pertaining to torture, pain, and being. They engage a series of texts and works, such as an exchange between Heidegger and Jünger, poetry by John Donne and Jean Daive, a novel by Nachoem Wijnberg, Cranach’s ‘The Martyrdom of Saint Catherine’, Broodthaers’s ‘Fémur d’homme belge’ and ‘Fémur de la femme française’. A constant attempt to reassess its own claims, ‘Cross-Examinations’ is a palimpsest, printed and reprinted until the ink becomes page.”
Vincent W.J. van Gerven Oei
With contributions by: Nicoline van Harskamp, Lawrence Abu Hamdan, Willem Oorebeek & Léon Spilliaert, Anja Kirschner & David Panos
Designed by Remco van Bladel and co-published by MER
14.01.2016 Reading from Peter Handke’s TO DURATION
A reading from TO DURATION by Peter Handke
Translated by Scott Abbott
Published by The Last Books, an initiative of Phil Baber and Snejanka Mihaylova
Duration is my redemption,
it allows me to walk and to be.
Inspired by duration,
I am also those others who stood at Griffen Lake before my time,
who will circle the Porte d’Auteuil after me,
with whom, all of them, I will have walked
to the Fontaine Sainte-Marie.
Braced by duration,
I, a fleeting being,
carry my predecessors and posterity on my shoulders,
a load that lifts.
That is why duration was called a grace,
and don’t its images and tones have
the requisite shimmer and sound?
25.12.2015 Holiday until January 14
San Serriffe will be closed for holidays and renovation until January 14!