Monday, September 14, 2020

A trans

feat. Ellen Rodenberg & EX-MÊKH | FeMaler 
11.09.2020 – 18.10.2020 | Open Hours permanently 
U- Bahnhof Kleistpark (U7), 10783 Berlin

This year’s theme, A Femmes City, deals with the feminine view of various aspects of the city. How does urban space appear from a women’s perspective, what potential is overlooked, and what development possibilities are held in public space? Who does the city belong to? “ A Femmes City. I interpret the invitation of A trans as a challenge. When do we talk of a female gaze and of a female approach? What does it look like? I decided to engage the men of the EX-MÊKH-collective in this project in order to be able to hold the development of my work against the light of a male/female concept. Two shop windows next to each other, organized with work based on the male/female concept. I had discussions with Maarten Schepers and Kees Koomen about the difference in strategies, upbringing, social behavior and networking. When do we talk about expressing oneself with personal character and where do we observe the influence of gender? To try and make this visible I decided to install one shop window myself, as a woman. I asked the two men to install the second shop window with their work: one female, two men, two painters, one sculptor! The title FeMaler is an apt translation of this mix. For my personal presentation I developed a procedure of applying paint with big strokes on white cardboard resulting in color forms. It is a method with which I leak diluted acrylic paint through cotton sheets. After it dries the sheets are removed and whimsical shapes appear. The results have a watercolor-like character. I think of gardens for the imagination. I think of all the possible associations one single form can already evoke, I think of the mental space being created by this approach. Imagine the memories in the future. Imagine the questions in the future. Imagine the possibilities of the female approach in the future. The cardboard pieces will be installed in a precise manner but the result will look casual. The display in the shop-window must tempt for timelessness and thus create space, the incomprehensibilities will be helpful with this. What is it you see? A curious garden full of life? Or are you „Lost in Paradise”? The second shop window will be of a totally different nature. Maarten Schepers and Kees Koomen have been discussing the installation to be shown. Maarten Schepers has created an over-all design which we can associate with phenomena like show-box, diorama or bijou-box. Kees Koomen will add to this with work based on the muses and the story of Actaeon. LINK A Trans Berlin

Saturday, August 29, 2020

La Nave (The Ship)

Selected for the Architecture Filmfestival Rotterdam 
from 7 until 11 October 2020 
Directed by Hans Wilschut Produced by Edgar Kapp

Four enormous apartment buildings in Naples, Italy, seem to determine the lives of their inhabitants. Designed by architect Franz di Salvo in 1962, the original ideological principles meant to enhance social cohesion, were abandoned completely when construction started in 1975. Poor quality construction materials were used, the design altered and a total lack of infrastructure and services transformed the imagined utopia into a dystopian failure. Ever since, the Vele in Scampia have been synonymous with illegality, drugs, crime and murder. Hans Wilschut's documentary debut tells a story about people trying to regain control of their own lives.

Friday, August 21, 2020

Bertien van Manen and Friends

@ Stedelijk Museum Amsterdam

Van Manen's work is rooted in classic (social) photo reportage in serious of straightforward black and white which, up until the 1980s, was an important genre. Gradually, she evolved a personal, poetic form of colour photography that reveals her enduring, highly personal relationships with her subjects. The common thread running through the exhibition is the various series that Van Manen has produced since the 1970s, from her autobiographical work and the first series in Budapest in the 1970s, the black and white series about female migrant workers and nuns in the 1980s, the stories about Russian and Chinese people coping with changes in society in the 1990s.

Thursday, August 06, 2020

Oleksandr Miroshnychenko

I began studying pottery in 2003 and my first wish was to create functional wares. I was inspired by Japanese ceramic art and I tried to express the processes of nature in clay. Issues that interested me were the transience of life, imperfection, impermanence , nature of the self, and the beauty of materials. But my philosophy transformed, and I began to reflect on human beings and about processes in society: Civilization and urbanity as capable of changing human nature; Personality as a set of separate elements and how they may be changed and permanently transformed; Continuous change and imperfection as a base line of personality making any seeming order unstable; Entropy as a mode of transforming the objects of material culture; and psychological isolation as common to human experience. I try to integrate these ideas as motifs into my work. 

Oleksandr Miroshnychenko lives and works at his studio in Kochetok, a small village in the Kharkiv region of Ukraine. In 2001, he decided to become an artist after one year of studying radio physics in Karazin Kharkiv National University. Miroshnychenko subsequently enrolled at Kharkiv Artist College but after two years of education was expelled. The aspiring artist’s first meeting with ceramics took place at the ceramic studio of Kharkiv State Academy in 2003. There he started working as an assistant, preparing materials for students and helping them to make their works. The head of the studio, instructor Volodimir Shapovalov, taught Miroshnychenko the technology and art of ceramics and clay. Miroshnychenko worked at the studio for seven years and during that time he studied ceramics and pottery intensively. The artist earned his bachelor’s degree and master’s degree through correspondence courses at Kharkiv state academy of Design and Arts. LINK Oleksandr Miroshnychenko

Sunday, August 02, 2020

After Corona Yuri Buenaventura comes back!

@ North Sea jazz festival Rotterdam Holand

Grande Yuri Buenaventura eres el mejor! 
Q enorme felicidad ver musicos de verdad en esta Decadencia musical actual.gracias Dios mio!!!

Tuesday, July 14, 2020


Tamarind was founded in the absence of an American print shop dedicated to serving artists, and during a period when American artists tended to reject lithography and collaborative printing in favor of the more "direct...immediate" possibilities. Faced with a paucity of opportunities on all fronts and a medium which seemed on the verge of extinction, Wayne sought to create more than just a studio: June Wayne's critical vision--a perception at the core of the Tamarind proposal--was that there were many facets to the problem, none of which could be solved in isolation from the whole. It would be insufficient to entice artists to make lithographs if they could not find opportunities for true collaboration with highly qualified artisan-printers, and it would be insufficient to establish fine workshops without thought to the economic climate in which they might exist. Tamarind can be credited with single-handedly reviving the medium of lithography, both insofar as they made the medium "respectable" and viable and also in that their dedicated research led to technical and economic breakthroughs with a visible impact on lithography in particular and printmaking in general; e.g., lightfast inks, durable and consistent printmaking paper, precise registration systems, aluminum plate printing, and lightweight, large diameter rollers are but a few important aspects of printmaking which either originated at or were refined by Tamarind. The workshop also established several now-customary procedures for editioned prints, such as precisely recording and documenting every edition, and affixing both a workshop chop and a printer's chop to each proof or impression in recognition of the printer's important role. LINK Tamarind

Monday, May 18, 2020


Halfslaap - Lisa Weeda & BrotherTill

BrotherTill is an amalgamation of spoken word, electronic music and visual art. The two brothers have been working together in the performance arts for years. A concert? A performance? A performance with video? Or everything together? The duo has made a name for itself in recent years with intense multimedia, quite alienating and sometimes absurdist concepts where music, spoken word, video and performance art go together. The concept of the brothers van Til stimulates, bites and chafes, deeply appeals to the senses on several layers and is spectacularly colorful and visual. 

Lisa Weeda writes, has made the literary program Beautiful Words in Utrecht for years, is co-host with the literary podcast Ondercast, moderates, interviews and teaches at ArtEZ and the Rockacademie Tilburg. Her work has appeared in Das Magazin, De Titaan, De Revisor, Tirade on De Optimist and Hard // Hoofd. In 2015-2016 she was part of the Slow Writing Lab, the talent program of the Dutch Foundation for Literature. In the summer of 2016 she traveled with deBuren to Paris. At the end of 2016, De Nieuwe Oost published her chapbook "The legs of Petrovski", which was awarded in NRC. In May 2017 she signed with De Bezige Bij for her debut. With team, she worked on a non-fiction VR installation about a woman in the village of Rozsypne, where part of the MH17 crashed.
LINK BrotherTill  LINK Halfslaap

Saturday, May 09, 2020

Locked up voluntarily, Paris 1975

@ Collège Néerlandais 
Cité Internationale Universitaire de Paris (CIUP) 61 Boulevard Jourdan

The five of us went into town. Stayed at an Algerian restaurant after dinner until late at night. We had left a window open @ Collège Néerlandais from the Dutch architect Dudok. I didn't go to a disco after that meal around three nights. With a taxi I arrived @ Boulevard Jourdan, climbed over the wall and hit the window. And fell into a deep sleep. A few hours later, Robbie and Berend tried to open the window. Unfortunately! closed and after banging on the window I was unable to wake up! Cité Internationale Universitaire was closed! They did not sleep that night! 

Collège Néerlandais, was built on land located at the corner of Boulevard and Rue Emile Jourdan Faguet, rue de la Tombe Issoire in 1927, the western end of the northern buildings destined to within University City, in the south of Paris, France. Its northern side faces the Boulevard Jourdan, west to rue Emile Faguet laterally delimiting the set of the Cité, the south side look at the College of Indochina and East facing the Armenian College. The Cité Internationale Universitaire de Paris is located in District XIV of the French capital, between Porte de Gentilly, east and west Porte d’Orléans. Northern boundary serves Boulevard south Jourdan and the Boulevard Périphérique. LINK (CIUP)

Wednesday, April 22, 2020

Константин Степанович Мельников

Konstantin Stepanovich Melnikov (Константин Степанович Мельников) was a Russian architect and painter. His architectural work, compressed into a single decade (1923–33), placed Melnikov on the front end of 1920s avant-garde architecture. Although associated with the Constructivists, Melnikov was an independent artist, not bound by the rules of a particular style or artistic group. In 1930s, Melnikov refused to conform with the rising Stalinist architecture withdrew from practice and worked as a portraitist and teacher until the end of his life. 
The finest existing specimen of Melnikov's work is his own Krivoarbatsky Lane residence in Moscow, completed in 1927–1929, which consists of two intersecting cylindrical towers decorated with a pattern of hexagonal windows. His flow of commissions in 1926-1927 provided enough money to finance a three-story house of his dreams. At this time, many well-to-do Russians were into building their own city houses; Melnikov was one of the few who managed to retain his property after the fall of New Economic Policy. His request for land (790 square meters) had few chances to pass the district commission; to his surprise, a working class commissioner supported him, saying that "we can build public buildings anytime and anywhere, but we may never see this unusual house completed if we reject Melnikov".The city endorsed Melnikov's draft as an experimental, one-of-a-kind project. Read more

Sunday, March 29, 2020

#laatjenietnaaien sweater

Design: Kaulane Huisman en Serena Kloet

Lieve #laatjenietnaaien trui enthousiasteling, lieve maker, producent, programmamaker, freelancer in de sector, Holy crap, wat kan er veel gebeuren in een korte tijd. Kut en zeker als we het over geld hebben. Ondanks de financiele weirdness (en misschien juist wel daarom) is het toch ons plan om door te gaan met de actie #laatjenietnaaien en de sweater die daarbij hoort, omdat we nou eenmaal geen ‘hobbyist’ zijn en juist ook omdat de Katoenfabriek (waar we de truien bestellen) gewoon open is en enorm veel inkomsten aan het mislopen is. In de bijlage zit een afbeelding van de sweater. Dus bij dezen de details voor jou: De trui is 35,- Hij is organisch (jeeh) en mooi. Hij is fair gemaakt, betaald en ook onze medewerking zit hierin verrekend. Stuur je maat en kleur voorkeur (blauwe of grijze trui). Als je zakelijk wil betalen stuur dan ook je zakelijke adres mee, dan kan dat op de factuur/pakbon die je van ons ontvangt als de trui er is. Die krijg je dan in de mail, die pakbon. Uit deze prijs betalen we ook grafisch ontwerpers Kaulane Huisman en Serena Kloet. In Utrecht kan je hem gratis ophalen/kunnen we hem voor je deur komen leggen. 

Dear #laatjenietnaaien sweater enthusiast, sweet maker, producer, program maker, freelancer in the sector, Holy crap, what can happen in a short time. Bad and especially when we talk about money. Despite the financial weirdness (and perhaps precisely because of that), our plan is to continue with the action #laatjenietnaaien and the sweater that goes with it, because we are not a "hobbyist" and precisely because the Cotton Factory (where we order the sweaters) is simply open and is missing out on a lot of income. In the attachment is an image of the sweater. So here's the details for you: The sweater is 35, - It is organic (yeeh) and beautiful. He is made fair, paid and our cooperation is also included in this. Send your size and color preference (blue or gray sweater). If you want to pay for business, please also send your business address, you can do that on the invoice / packing slip that you receive from us when the sweater is there. You will receive it in the mail, that packing slip. We also pay graphic designers Kaulane Huisman and Serena Kloet from this prize. Read more or order @ #laatjenietnaaien

Friday, March 06, 2020

Calypso War - Lord Invader, Macbeth, & Duke Of Iron, 1946

Research dolf pauw 
Thanks to Pancocojams

This post showcases the complete battle sound from Calypsonians Lord Invader, Macbeth, and Duke of Iron engaging in a extemporaneous Calypso battle i1946. The content of this post is presented for historical, folkloric, educational, entertainment, and aesthetic purposes. The copyrights remain with their owners. My thanks to the legacy of early Calypsonians and specifically to Lord Invader, Macbeth the Great, and Duke of Iron and Pancocojams, Dolf Pauw. LINK Youtube LINK Pancocojams

Wednesday, March 04, 2020

The Duke of Iron

Sings Calypso, The Fly

Wilmouth Houdini may have been the first major star of calypso to record extensively in the U.S., but the Duke of Iron became the leading exponent of calypso just as high-fidelity recording became commonplace. His particular combination of authenticity amd popular appeal both modernized and improved the sound of calypso at a crucial time. Other calypsonians of great originality, such as fellow New Yorker the Mighty Sparrow, owed him a huge debt. Born Cecil Anderson in Trinidad, the Duke of Iron learned music from his famous father and others. (His brother performed under the name Count of Monte Cristo.) Cecil came to the United States and made New York City his new home in 1923. In 1940 he began playing professionally at the Village Vanguard, and after ten months he headed west, touring until a triumphant return to New York in 1943. From then on he was King of Calypso and toured college campuses for some time until returning to Trinidad. There, he formed a new band and headed to Europe for a tour. He returned to New York at the height of the calypso craze (1956, the year Belafonte's debut eclipsed Elvis') to begin a long stint as headliner of the Jamaican Room. On the LP Jungle Calypso, the Duke is accompanied by Modesto Calderon (bass player), Gregory Feliz, and Victor Pacheco. The latter two take turns at drums, violin, and clarinet. By the time of his Jamaican Room engagement, the Duke was playing quattro (four-stringed guitar) with a drummer, bassist, pianist, and two others doubling on sax and clarinet. He recorded for Victor as well as the jazz label Prestige (Limbo, Limbo, Limbo), which despite the name features strong original material and excellent recording by the peerless Rudy Van Gelder. His LPs typically include one or two steel-band instrumentals, but that should not pose no obstacle to their appreciation. LINK Youtube Extra

Wednesday, February 26, 2020

Depot Boijmans Van Beuningen

February 05, 2018.  February 25, 2020.
Photography dolf pauw

Depot Boijmans Van Beuningen is the first art storage facility in the world that offers access to a museum’s complete collection. The Depot has a different dynamic to that of the museum: there are no exhibitions, but you can browse amongst 151,000 artworks, alone or with a guide, and get behind-the-scenes glimpses of - among other things - conservation and restoration. LINK Depot

Thursday, January 30, 2020

Jānis Jaunsudrabiņš

The White Book 
Graphic design: Sandra Krastiņa
research Dolf Pauw

Jānis Jaunsudrabiņš (1877–1962) was a famous Latvian author and painter. His life and work were imbued with bright light and clear vision. Having come from the countryside, Jaunsudrabiņš was well familiar with the life on the traditional Latvian farm and its intimate connection to the cycles of nature. As many Latvians he, too, had to experience personally the dramatic shifts and collisions of the 20th century. During World War I, Jaunsudrabiņš shared the fate of many refugees in Northern Caucasus; then he experienced peace and relative prosperity of newly independent Latvia and familiarised himself with Western culture. At the end of World War II, Jaunsudrabiņš was once again a refugee – this time in Germany where he settled in Kerbeck, living there until his death in 1962. In 1997, Jaunsudrabiņš was reburied in Latvia, near his Nereta birthplace. 

During a stay at the writers' retreat Burtnieku Nams on the outskirts of Riga, Jaunsudrabiņš started writing his masterpiece, 
"The White Book", one of the most outstanding works of Latvian literature. The first part of it was published in 1914 and the second followed in 1921.
LINK Bank of Latvia

Saturday, January 11, 2020

Kees Koomen @ De Aanschouw

Overschilderschilderij Painting 141

'The Overschilderschilderij' (oil paint, 50 cm x 60 cm, 2002-present) Since May 24 2002, artist Daan den Houter has invited art painters to make an oil painting on the same canvas. Each painting is shown for 1 week in the smallest gallery from Rotterdam: De Aanschouw (Witte de Withstraat 80b, Rotterdam). Then the canvas goes to the next painter for a new layer. In 2012 this work was nominated for the Royal Dutch Painters Award. In 2014 it hung in honor of the 100th layer, in a solo presentation in the Boijmans van Beuningen museum. The previous works can be viewed at
LINK aanschouw

Monday, January 06, 2020

Valia Balkanska

For Baba's birthday today (99) in Plovdiv Bulgaria

Valia Balkanska is part of the Voyager Golden Record selection of music

Valya Mladenova Balkanska (Bulgarian: Валя Младенова Балканска) (born 8 January 1942) is a Bulgarian folk music singer from the Rhodope Mountains known locally for her wide repertoire of Balkan folk songs, but in the West mainly for singing the song "Izlel ye Delyo Haydutin", part of the Voyager Golden Record selection of music included in the two Voyager spacecraft launched in 1977. Born in a hamlet near the village of Arda, Smolyan Province, Balkanska has been singing Rhodope folk songs since her early childhood. She performs a repertoire of over 300 songs in Bulgaria and abroad. Balkanska is most famous in the West for "Izlel ye Delyo Haydutin", which she recorded in 1968 accompanied by the bagpipe (gaida) players Lazar Kanevski and Stephan Zahmanov. Her best-known recording was made in the late 1960s by the American explorer of Bulgarian folklore Martin Koening and was released on vinyl in the United States. A few years later, a specimen of the record accidentally fell among the purchased records for the preparation of the Golden Record, a message from the Earth to fly out of the Solar System aboard two identical spacecraft from the NASA Voyager program. The song was included in the final 90-minute musical selection by Carl Sagan and flew first on the Voyager 2, which was launched on August 20, 1977, and two weeks later on September 5, 1977, on the Voyager 1. On August 25, 2012, Voyager 1 became the first object of human origin to leave the Heliosphere and to enter Interstellar medium. LINK The song (Youtube)
Petia and Dolf Rotterdam The Netherlands

Monday, December 16, 2019


Photography Dolf Pauw

Panamarenko was a contemporary Belgian artist known for his mixed-media sculptures of airplanes, zeppelins, and flying saucers. Despite being modeled after aerodynamic engineering, Panamerenko's works are not necessarily capable of flight—an irony deliberately invoking the sentiment found in the myth of Icarus. Most of his work involves the history of engineering and aviation as a metaphor for failure, hope, and human exploration. Born Henri Van Herwegen on February 5, 1940 in Antwerp, Belgium, he was educated at the Royal Academy of Fine Arts in Antwerp. In 1968, one of the artist’s biggest influences Joseph Beuys invited Panamerenko to exhibit his Flugzeug piece at the Düsseldorf Kunstakademie. He has gone on to exhibit his works globally at spaces like the Museo Nacional Centro de Arte Reina Sofia in Madrid and The Museum of Modern Art in New York. A retrospective of his works was held in 2005 at the Koninklijk Museum voor Schone Kunsten in Brussels. LINK site Panamarenko