Saturday, July 23, 2022

Framing the War, hundred days of war in Ukraine

This exhibit shouldn't have been here now. That war shouldn't have happened!

From day one, the war in Ukraine has also been a media war. There are more images than ever, made by journalists, civilians, media and press agencies. Ukrainian and foreign journalists and media try to report the war objectively and independently. In Russia, the state controls all media with no space for independent and free journalism. Framing the War portrays the first hundred days of the war through the lens of international news photographers and through the pen of international cartoonists. The documentary photography and satirical cartoons combined to paint a unique picture of the conflict. They invite you as a visitor to take a critical look at coverage of the war: what do I know and what do I see, and how important and how influential are the makers of the images? This exhibition is a collection of news photos and cartoons. It includes work by news photographers who stayed in Ukraine during the first 100 days of the war. Cartoons are made by, among others, Vladimir Kazanevsky (Ukraine), Gatis Sluka (Latvia), Tjeerd Royaards (Netherlands) and Emad Hajjaj (Jordan). Photography by photographers ANP. 

The exhibition is a production of press agency ANP, media museum Sound and Vision The Hague and cartoonists platform Cartoon Movement. It is made possible by the support of the V-Fonds and the Municipality of The Hague.

Note: It is of course strange that you cannot have free entry to this loaded exhibition Dolf Pauw

Wednesday, July 06, 2022

Arturo Kameya

Arturo Kameya is an established, mid-career contemporary artist, who originates from Peru. Born in 1984, Arturo Kameya's creative work was predominantly inspired by the 1990s. In the United Kingdom, a collective of artists known as the YBAs, or Young British Artists, dominated the artistic culture of the decade. They were a loosely affiliated and diverse group, connected generally by their age and nationality. A number of the members had attended the Royal College of Art and Goldsmiths in London, and were favoured by Charles Saatchi, the ‘super collector’ of art at the time. 
Kameya's work is rooted in personal stories and in the history of the urban subculture of the Peruvian capital Lima and Japan. Peru has traditionally had a large community of Japanese migrants. He reflects through paintings, music and objects on apparently insignificant experiences, memories and rituals from everyday life. His work thus touches on major and current themes such as migration, loss and change. The imagination of the past and the future also plays a role.

Friday, June 17, 2022

KROKODIL FESTIVAL: The Year of Magical Thinking

LOCATION 1: Center for Cultural Decontamination, Birčaninova 21, Beograd


“The Year of Magical Thinking is a title we owe to the recently deceased American author and essayist Joan Didion, whose insight into the roads travelled by the human species through the XX and XXI centuries, and her memorable descriptions of societal unrest and psychological fragmentation have left an important mark on the way we experience the contemporary world. Taken from her eponymous autobiographical book that talks of her facing the sudden death of her husband and terminal illness of her only daughter, this title, of course, represents a direct homage to the insuperable writer. However, it also directs our attention towards the collective, global, extremely complex trauma the population of planet Earth is facing today. In a direct head-on collision with the certainty of environmental apocalypse, new and mysterious pandemics, aggressive, bloodthirsty dictators with their fingers on the triggers of nuclear weapons powerful enough to destroy all of humanity, and the extreme stupidity and blindness of the human species that, due to the development of communications technologies, has been unveiled before us in all its splendour while as Arthur Koestler said, we “sleepwalk toward Armageddon”, it would seem we are unable to fully comprehend where we have led our civilisation. And in return, where our civilisation has led us. Connecting Emerging Literary Artists 

WHEN: Sunday, 19 June, from 7 PM PARTICIPANTS: CELA (Connecting Emerging Literary Artists) – Arianna Bonazzi (Italy), Andraž Rožman (Slovenia), Lisa Weeda (The Netherlands) and translators Ana Popović, Jelena Dedeić, and Bojana Budimir. Programme moderator: Mima Simić. POETS SOUNDS – speech art trio SPRECHBOHRER (Germany), Tone Avenstroup (Norway), Katalin Ladik (Hungary) and Miia Toivio (Finland). Programme moderators: Dragan Protić Prota and Florian Neuner. ADMISSION: Free LIVE STREAM: No online stream DEBATE PROGRAMME

Wednesday, May 25, 2022


Mainstation Düsseldorf, Konrad Adenauer Platz 14 
76133 Düsseldorf Germany

The exhibition A World To Work With shows works by twelve artists in the Modellbahnautomat at Düsseldorf‘s main station. In the tradition of sculpture exhibitions in public spaces, works are presented as models on a scale of 1:87, ranging from unrealized to completely newly developed concepts. With works by: Gina Fischli, Alexander Janz, Daniel Kuge, Louise Lawler, Fritjof Mangerich, Isa Melsheimer, Gerardo Nolasco-Rózsás, Lucila Pacheco Dehne, Sophie Pape, Thomas Schütte, Maria Visser and Alex Wissel The exhibition is curated by Alexander Janz and Felix Koberstein. 
Models play an important role in artistic production. Many larger projects are first created on a small scale before they are realized in the size they are intended. This is mostly for pragmatic reasons. Many constraints that exist in reality are undermined in the model. In this way, ideas and thought experiments that cannot be easily realized due to size, cost, safety risks, or other limitations can be vividly put up for disposition. Models are used for experimentation in the studio, but also as a form of presentation for communicating ideas. It is therefore no coincidence that the aesthetics of the model-like, especially since the Neo-avantgardes, has itself become a field of interest for artistic reflection.

Friday, May 06, 2022

May 5 freedom concert @ Amstel Amsterdam

Anita Meijer, Why Tell Me Why

The May 5 concert is traditionally the closing event of the national liberation celebration. Opera singer Tania Kross, rapper Fresku and rock band Navarone performed, among others. And the mentioned Anita Meyer of course. She sang her 1981 mega hit Why Tell Me Why. Freedom is something that cannot be taken for granted. I hope freedom remains especially now in Ukraine.

Thursday, May 05, 2022

Lyubov Panchenko (Любов Панченко)

Was a Ukrainian artist and designer known for her influence on Ukrainian culture.

Panchenko came to prominence in the 1960s as a member of the Ukrainian Sixtiers, a group of artists and thinkers who advocated for freedom of expression during the repressive Soviet regime. She became known for her fashion design, blending the modern with traditional Ukrainian embroidery and other elements. Her fashion was featured in Soviet Woman, a prominent women’s magazine in Ukraine. Yet her work was also censored by the Soviet Union as it preserved and promoted Ukrainian culture. Panchenko was also a painter who incorporated folk art and traditional symbols if Ukraine into her work, including creating painted pysanky, or Easter eggs. She worked in many other media, including stained glass and sketches. Read more…

Saturday, March 26, 2022

Ian Cumberland


Ian Cumberland is an Irish visual artist. He was born in Banbridge. His work focuses on portraits with his paintings typically using oils as the primary media. He studied fine art at the University of Ulster. He has won several prizes, the most significant of which was the Davy Portrait Award in 2010. In 2019 and 2020 Cumberland deals in his work with increased commercialization, technological development and its effects on the individual. In doing so, he creates scenes that seem like a private snapshot and transport the viewer into a voyeuristic experience. He develops these by integrating his paintings into an installation consisting of audio and video works, neon light, sculptures and other plastic materials. Through this kind of deconstruction of his created sceneries he achieves a visual construction that alienates the human being within his culture, the influence of the mass media and data surveillance.

Tuesday, March 01, 2022

In memory of Panayot Panayotov - Paneto

In German

During the rare moments when Pani was not working in his studio, we saw an engaging personality who was always up for a good conversation. He was a bon vivant with a well-filled glass of Bulgarian wine or a Rakia that he could always tell something about. He loved Bulgarian cuisine and culture. A real Burgundian, he told stories for hours on any subject. His opinion was always substantiated. We'll miss these moments. Lilly, Petia, Dolf and family in The Netherlands.

Wednesday, January 12, 2022

Lucienne Day

Via Ron van der Ende (Facebook)

Lucienne Day's career in design spans 60 years and the freshness and originality of her work ensures that it is still relevant to contemporary interiors. A versatile and influential designer, Lucienne was commissioned by a wide range of companies and extended her very particular vision to carpets, wallpapers, tea towels and ceramics as well as textiles. With her husband Robin she pioneered the post-war revival of design and manufacture and extended the boundaries of modern design, enjoying international recognition. Her best known textile design 'Calyx' was launched at the Festival of Britain in 1951 and subsequently received the coveted International Design Award of the American Institute of Decorators. 

Lucienne Day's early textiles were inspired by her love of modern art, especially the abstract paintings of Paul Klee and Joan Miró. Reflecting on recent trends in textiles in 1957, Lucienne observed: “In the very few years since the end of the war, a new style of furnishing fabrics has emerged…. I suppose the most noticeable thing about it has been the reduction in popularity of patterns based on floral motifs and the replacement of these by non-representational patterns – generally executed in clear bright colours, and inspired by the modern abstract school of painting.” However, although abstraction was the dominant idiom in her work, Lucienne also perpetuated the English tradition of patterns based on plant forms, often incorporating stylised motifs derived from nature, such as leaves, flowers, twigs and seedpods. After dabbling in painterly, textural abstraction during the early 1960s, she experimented with hard-edged, multi-layered geometric designs composed of squares, circles, diamonds and stripes during the mid to late 1960s. Stylised florals and arboreal designs remained recurrent motifs until the mid 1970s.

Friday, December 31, 2021

Tuesday, November 30, 2021

Ivo Papasov (Иво Папазов)

Rotterdam 2005 worldmusic filmed by dolf pauw

A prominent performer of “wedding music,” who is frequently referred to as the creator of the genre, Ivo Papasov, is of a mixed Turkish-Roma origin. His wedding band Trakya quickly gained popularity in Bulgaria in the first half of the 1980s. During the period 1984-1989 the Communist party started a cleansing campaign against the Muslim minority in Bulgaria and as a result, the members of Trakya band were arrested twice for popularizing what was considered by the government purely Turkish music. It was around the same time when a British impresario Joe Boyd (Hannibal Records) “organized a sponsored tour of Trakya in Europe and the United States”. The tour helped the band sell a large number of records and “bring Eastern-European music to a Western audience”. In 2005 Papasov won the BBC‟s Radio3 World Music Awards “with the highest number of votes in the contest‟s history” contributing to the spread of Bulgarian “wedding music” and proving that the mixture of Bulgarian, Roma and Turkish music produces a successful outcome that is appreciated abroad.


Tuesday, November 09, 2021

Gaida (bagpipe)

Rhodope mountains

One of the first people who began to use this instrument, were the Thracians. They replased the horn with e piece of wood – drone and they made some mare innovations like bass – drone and mouthpiece. In ancient Egypt they also used bagpipe with or without bass – drone. In the beginning of the first millennium BC the proto – Bulgarians also began one of the general instruments in the lands of Old (Volga) Bulgaria. The Celts, the Druids and the Rusi tribes also took this instrument from them. In later times the bagpipe was carried into the territory of today’s Bulgaria. 

Gaida (bagpipe) is a favorite instrument close to the life and the spirits of the Bulgarians. The main sounding part is the Gaidunitsa (chanter). It has 8 holes and produces the melody. The other part is the Rouchilo (drone).The drone’s sound is constant and accompanies the melody. The other parts of the Gaida are the Bag and the Mouthpiece. There are two types of Bulgarian Gaidas: Djura and Kaba. The Djura Gaida has a smaller size and sounds high and sharp. The Kaba Gaida is a low pitched bagpipe which can be found in the Rhodope mountains in Bulgaria. It is a typical representative of the Gaida family and possesses all the characteristics - single drone, wooden chanter, flea hole, goat skin bag and a tube reed from elder, cane with a tongue, tight fingering style (each note is played by lifting only one finger). 60 years ago, the Kaba Gaida was not much different from the other gaidas (called Djura) in the region - high pitched, round chanters with horn at the end. Before 1961 there were mostly F to G kaba gaidas. After that year, appeared E and D kaba gaidas because of the rise of the amateur bands and the very famous ensemble “100 Kaba Gaidi”. Also, females choirs appeared which needed lower pitched gaidas. The horn on the Kaba Gaida was replaced by a curve at the end of the chanter and it was removed on the Djura Gaida. 

Gaida players have developed special techniques to overcome what might be considered the limitations of the instrument. First of all, they use the ‘flea-hole’, a distinctive organological element of many Eastern European bagpipes, which consists of a small tube, usually made of a hen’s feather, slotted into hole I. The flea- hole is an important component of the gaida’s playing technique, since it affects the way holes I and e (the thumb-hole, which is opposite to I) act. For a given fingering, by uncovering the flea-hole, an interval of a second above the note originally sounded is produced. The size of that interval depends on the original note. The higher the note, the smaller is the second.

Wednesday, October 27, 2021

Lisa Weeda Presentation novel Aleksandra

@ Bezige Bij, Amsterdam 10 26 2021

Zelfs als ik Aleksandra’s naam, haar vadersnaam Nikolajevna en haar achternaam Temnikova noem, mag ik niet langs het checkpoint. Ik neem mijn paspoort terug aan en wijs naar de brug richting Loegansk. ‘Toen ze werd weggehaald heette deze stad nog Vorosjylovhrad,’ zeg ik. De Oekraïense soldaat, die iedereen voor mij heeft doorgelaten, schuift zijn geweer van zijn buik naar zijn rug en slaat zijn armen over elkaar. De brug hangt als een in tweeën gespleten boom in de rivier, die de gesepareerde republiek scheidt van de Oekraïense grond waar ik op sta. De houten constructie, die al bijna vier jaar door moet gaan voor opgang naar het ingestorte wegdek, ziet er zelfs vanaf hier krakkemikkig uit. ‘Overal liggen mijnen, er wordt om de haverklap geschoten, ’s nachts zijn er bombardementen,’ bromt de soldaat. ‘Dat zeiden ze al.’ ‘Wie, ze?’ ‘Mijn oma. Haar zus Nina die hier woont, ken je haar? Mijn oudtante en haar zoon in Odessa. Ze zeiden: je bent gek.’ De soldaat schudt nog eens zijn hoofd. ‘Dus je omaatje, die jou hopelijk liefheeft, stuurt je naar een oorlogsgebied. Is ze mesjogge?’ ‘Het moet,’ zeg ik, ‘ze heeft het me gevraagd.’ [...]   
Copyright © 2021 Lisa Weeda 

Even if I mention Aleksandra's name, her father's name Nikolaevna, and her last name Temnikova, I'm not allowed to pass the checkpoint. I take my passport back and point to the bridge towards Lugansk. “When she was taken away, this town was still called Voroshylovhrad,” I say. The Ukrainian soldier, who everyone has passed before me, slides his rifle from his stomach to his back and folds his arms. The bridge hangs like a split tree in the river, separating the segregated republic from the Ukrainian soil I am standing on. The wooden construction, which has been going on for almost four years to get to the collapsed road surface, looks rickety even from here. “There are mines everywhere, there is every hour of firing, there are bombings at night,” the soldier grumbles. "They already said that." "Who, them?" 'My grandmother. Her sister Nina who lives here, do you know her? My great-aunt and her son in Odessa. They said: you are crazy.” The soldier shakes his head again. "So your granny, who I hope loves you, is sending you to a war zone. Is she jog?” "I have to," I say, "she asked me." [...] 
Copyright © 2021 Lisa Weeda

Wednesday, October 20, 2021


Lisa Weeda 
ISBN: 9789403130811 Uitgever/Publisher: De Bezige Bij 
Verschijningsdatum/Release date: 28-10-2021/10-28-2021

Met verbluffend vertelplezier en met alle literaire stijlmiddelen die tot haar beschikking staan vertelt Lisa Weeda een uitzonderlijke familiegeschiedenis, die begint bij haar grootmoeder Aleksandra. In 1942 wordt zij vanuit Oekraïne gedeporteerd en in Duitsland in de oorlogsindustrie tewerkgesteld. Haar kleindochter Lisa reist later… 

With astonishing storytelling pleasure and using all the literary stylistic devices at her disposal, Lisa Weeda tells an exceptional family history, which begins with her grandmother Aleksandra. In 1942 she is deported from Ukraine and put to work in Germany in the war industry. Her granddaughter Lisa later travels…

125th anniversary of NHA, Sofia Bulgaria

"125 Years of National Academy of Art in 125+ Frames" 
@ Academia Gallery

On 28 September 2021, the National Academy of Art will celebrate its 125th anniversary with the photo exhibition "125 Years of National Academy of Art in 125+ Frames". The project concept focuses on the development of a well-structured and well-thought-out exhibition solely through the use of photography as a document of its time, which visually restores, as far as possible, the historical picture of the institution during its existence. The research on and promotion of the preserved photographic heritage related to the higher education institution and its presentation in public, once again provides an opportunity for the expert and general public to get acquainted with its long rich history.