You can follow Claire C. and her development at http://twitter.com/clairecestmoi.
The C-project, a Frascati Production in co-production with De Appel arts center and Onomatopee.
Onomatopee 51
White Smoke
by Hexaplex
In the White Smoke project man and machine meet: the audience engages a world of color codes and names. On the eve of the information era, White Smoke lays down poetic and semantic tensions between man and machine! White Smoke encourages the audience to enter the information society with human, poetical effort!
The publication contains a text by Audrey Samson (new-media theorist) explaining the evolution of color experiences from the perspective of new media. Freek Lomme (Onomatopee) describes the cultural poetry of White Smoke. To finish the sum, there's also a conversation between Hexaplex and Steven Pemberton (W3C) about the history of web clors + much White Smoke!
Now!
White Smoke's growing archive continuously at Onomatopee project-space. People can submit material either via http://whitesmoke.hexaplex.nl or physically at Onomatopee.
White Smoke lecture /
book presentation by Hexaplex.
June 17, 19:30
In collaboration with Designhuis
Location:
Designhuis
Stadhuisplein 3
5611 EM, Eindhoven
For reservations send an e-mail to: info@designhuis.nl
www.hexaplex.nl
www.designhuis.nl
Announcement
Navid Nuur wins Volkskrant Beeldende Kunst Prijs 2010
Navid Nuur is the winner of the Volkskrant Beeldende Kunst Prijs 2010. This was announced during last Sunday's live show of Kunststof TV on Dutch Television. There where 5 nominees this year's price including Sharon Houkema, Paulien Oltheten, Karin Schipper and Mounira el Solh besides Nuur. The winner receives a €10.000 grant from the Fonds BKVB (The Netherlands Foundation for Visual Arts, Design and Architecture)
The Value of Void
Navid Nuur (1976, Teheran, Iran) brings about a conceptual, cognitive awareness of our being, moulding the physical sphere of the metaphysical. The Value of Void expands on these endeavours, as 'intermodules', generating a sphere in between the material and immaterial domains. Mapping the scope of this intermodular specificity, The Value of Void offers insight into a practice of immaterial sculpting.
Between 2009–2010 his solo show 'The Value of Void' traveled from S.M.A.K. in Ghent to Kunsthalle Fridericianum in Kassel and De Hallen in Haarlem. Onomatopee recently published a lavishly illustrated catalogue to accompany these exhibitions
As quest into these parameters, this publication engages with our (visual) culture, specifically its immaterial sphere. The Value of Void therefore adds up to cumulating of knowledge as gathered by Onomatopee, lead by the Onomatopee objective to research and display the parameters of our (visual) culture.
Spreads from 'The Value of Void', Onomatopee 45
Current shows
Onomatopee 41: research project
the Form and the Frame #1
On opinion media as a window to reality:
a case study in editorial design.
Editorial team 1:
Eric de Haas
Merijn Oudenampsen
Bart Groenendaal
Form creates a frame, is political. An editing process is a formal play of political framing. ‘the Form and the Frame’ investigates opinion magazines and challenges
their parameters.
Read more
Onomatopee 50.1: Nest#2
(con)textual
What do we really read?
Duo-exhibition: Anne Dijkstra and Peter Koole.
Both Eindhoven based artist Anne Dijkstra and the Rotterdam based artist Peter Koole create artworks, ‘flat works’ such as drawings and paintings, in which they relate visual documentation to inter-textual, autonomous reconfigurations. Operating by means of textual deconstruction, explorations of the connotative field between original truth and subjective truth formation, these artists visually question our reading of literary anchor points such as the daily news (Koole) and the classics (Dijkstra).
Read more
Onomatopee 32: Cabinet #2
Untranslatables
A worthy scent for the local and the global.
A project by Yolanda de los Bueis, Christoph Schwarz, Elisa Marchesini and Sarah Vanhee
Graphic design: Remco van Bladel
Exhibition curator: Irena Boric
Opening: 9th April, 20:00
Exhibition open until May 30th
Open Thursday’s-Sundays 13:00- 17:00 and by appointment
Uffda, morbo, colorido, tubli, polegnal and jufli: some of the words presented in the Untranslatables. Each word originates from another language. All words share one common ground – untranslatability.
When translated, a word is traveling from one language to another. The word's shape is changed, but its concept, or idea behind it, remains untouched. But what happens if a word cannot be translated? If there is no term that can be its equivalent within a different context?
Read more
visit us at our new address!
Onomatopee opened up their new gallery space, just about 100 regular man-size steps away from their previous space. With direct access via the street it's now visible to all, accessible to more.
Onomatopee
bleekstraat 23
5611 VB
Eindhoven, NL
The editorial boards of ‘The Form and the Frame’ addressed the form of editorial design within opinionated media by carefully positioning themselves in relation to them. The perspective of each of these editorial boards was published as an advertisement in Vrij Nederland, Elsevier, HP De Tijd, and De Groene Amsterdammer.
Whereas politics and printed media used to speak with the voice of authority, we are now taking matters into our own hands. For example by continually posting comments online, writing blog entries, or twittering. The authority of the traditional media like newspapers is increasingly judged by what it can immediately provide us with: what we see is what we judge. The classical top-down cultural regulation through dissemination to the masses has become inoperable because of its one-to-many construction without any flexibility for editorial positions.
However, the traditional media can only be judged from the margins, by commenting on articles. Outside of these traditional media, authority increasingly transforms itself from a central organ into a hybrid body of metadata: stacking multiple layers of information, and formed in a decentralized and modular way.
Which forms of opinion are allowed by online media? Does the form of online media permit a sufficient amount of nuance that prevents opinion from remaining an ‘expression of thought’, and the grading of commentaries via the ‘Like’ button? The new construction of online authority includes, among others, the following questions about editorial and visual design:
What exactly is the position of the editor/reader in the metadata game: how does it support the construction of a new type of authority?
What is the form of online opinion?
Which forms of opinion are possible within the decentralized metadata structures?
Kim de Groot researches and creates images about metadata culture in which text, image, and opinion are superimposed. Within the context of ‘The Form and the Frame,’ Kim will (re)design several infrastructures for opinion in which the evolution of form and frame through new media will occupy a central position. Starting June 4, she will elborate on above questions as a supplement to the exhibition ‘The Form and the Frame.’
Intervention #01
Embed, Buzz, Tweet, Retweet, Rank, Comment, Digg, Rate, Sponsor, Spill, Connect, Link, Record, Share, Like the #oilspill
#liketheoilspill is a Twitter topic introduced by Kim de Groot to discuss the livestream as a media form that seems absent of any editorial process. Yet on the other hand shows an overdosis of distributive options such as 'Liking it' through Facebook or 'Sharing it' through Twitter. The topic is inspired by livestreams of the BP oil spill such as http://www.livestream.com/wkrg_oil_spill and http://edition.cnn.com/video/flashLive/live.html?stream=2 . The exclusive content that contextualizes these streams are Twitter feeds or comment sections; raw data immediately hits metadata.
Is the livestream a form of news without editorial process? Or has news reporting turned completely political with the livestream since the broadcaster can turn it's channel 'on or off' at any time? Is the livestream a trigger for opinion or traffic to the website?
Has the Tweet, as a kind of headline, replaced the main article and thus some kind of middle ground? Help creating a micro-meme around #liketheoilspill by twittering your thoughts and reactions on the transformation of editorial processes and the role of metadata such as tweets and comments in the news!
www.kimdegroot.nl
onomatopee.net/oilspil
Onomatopee 42 / Cabinet #3
Moving Through Second-hand
Sources (p.s.)
By Paul Hendrikse
Opening part 1: June 4th, 20:00 until July 11th
Opening part 2: September 10th until October 3rd
Moving Through Secondhand Sources (p.s.) starts from the complex and intrigueing life of the South African poet Ingrid Jonker (1933-1965). Hendrikse uses Jonker’s politicized character as a vehicle for his investigation of the interlaced vectors of history, biography and mythology. His research is shown in this exhibition and a book, which will be released and presented by Onomatopee in issues during this exhibition period.
Jonker published several important works in the fifties and sixties and became politically involved when her father, Abraham Jonker, as a member of the Nasionale party, became chairman of a board responsible for implying new censorship laws on publications and entertainment. Ingrid Jonker firmly opposed to these developments and attacked her father publicly. The years after she experienced difficulties publishing her work though she got published, amongst others, in Drum: a “black” magazine. In 1963 Rook en Oker (Smoke and Ochre) her second collection of poems was released and with this book she received the most important literary prize of South Africa. Only a few years later Jonker ended her life.
Jonker’s life and part of her work, show the complex political and social reality of South Africa in the sixties. After her sudden death, Jonker became a cult figure, but after the sixties she was forgotten. In the mid nineties Jonker gained new interest after Nelson Mandela read the poem “Die Kind” during his address at the opening of the first democratic parliament. In the next years, Jonker was embraced by different groups of South Africans, especially by the Afrikaners that were looking for icons from their troubled past.
Hendrikse searched in South African archives for more information about Jonker, but most of the texts available appeared to be released after her death and didn't seem to give a truthful impression of her person. In recent years South African history is written and rewritten rapidly, and within this rapidly changing society Jonker became a character in movies, plays and books by others. Within these, parts of Jonkers highly mediated biography are often “forgotten” or simplified.
Hendrikse decided to create a work that starts at this point of friction. He invited four South African and a Dutch writer to write a contribution for a book that fictionalizes the story of Jonker five times. The writers received different sets of pictures of interiors where Jonker used to live, where she worked or other places of importance to her. For this Hendrikse collaborated with photographers David Southwood and Melanie Hofmann. The authors were asked to use these interiors as references for the story: as surroundings (or scenery) where the story takes place, or to use elements of the pictures to define their story or fictional character.
The presentation at Onomatopee will slowly change its form, starting off with a spatial arrangement that includes a number of works that Hendrikse created in the legacy of the South African writer. In the first phase of the exhibit, Hendrikse will create the “conditions” in which the several elements of the exhibition (presentation, discussion, works) will take place.
This scenery is of equal importance as the works themselves. Hendrikse adds elements that determine the space: functioning as artifacts’ but at the same time the elements can be used to frame other works within the presentation at a later stage, or to emphasize or undermine a yet to be added element or work.
Location:
Onomatopee, Bleekstraat 23, Eindhoven
Onomatopee 43 / research project
Autonomy Project
Summer School
Opening: June 28th
Exhibition open until July 2th
The Summer School invites young professionals and those currently studying in the fields of fine arts, design, art criticism, arts policy making, art theory, curating and related areas; from the Netherlands, Great Britain and Germany – places where this issue of Autonomy is being actively debated. The week-long programme will mingle rhetorical and theoretical discussion around the notions of Autonomy with active group work, as well as presentations of various perspectives from particular case studies. The Summer School aims to equip the next generation of creative agents with the critical skills to articulate their position and practice in relation to the possibilities of Autonomy, while operating within the complex contemporary cultural field. This week of activities will be followed by the second newspaper publication, which both documents and develops the Summer School process.
Autonomy Project
Redefining autonomy in contemporary art
The word “Autonomy” sounds outdated. In an artistic field, this term finds itself wedged between a number of possibilities: the romantic notion of the isolated Artist developing works in a studio; or the reality that to operate within given socio-political arenas those who play creative roles are only there to facilitate a public agendas or to smooth social process. These two positions are not mutually exclusive.
The current reformation of artistic practices as globalised and professionalised; and the ways in which these practices are implemented and permeated by the social, political and economic realm pose new questions and challenges to the entire field of artistic production, mediation and education. The Autonomy Project is an international collaboration between art spaces and research/education institutes that seeks to address these multi-faceted geographic and cultural contexts, facilitating a number of events over the coming years in various locations, bringing the notion and practice of Autonomy back into debate.
2010 programme:
In 2010, the Autonomy Project’s first activity is an expert’s March Meeting, held in the Van Abbemuseum, Eindhoven, the Netherlands, which aims to lay the conceptual and experiential foundation for the rest of the year’s programme. The meeting will be expanded on via workshops held in partnering institutions and some more unusual venues, as well as the first in a series of newspaper publications produced with and available via Onomatopee. A networked web-space will facilitate a geographic and conceptual bridge between the separate sites of discussion and the themes addressed in the lead up to a joint Summer School from 28 June to 2 July, 2010.
A public debate will take place in October 2010 at the Van Abbemuseum, followed by a more formal symposium in 2011. Each moment within the Autonomy Project's development seeks to draw on the groundwork and discussion of its preceding events. An interactive Wikipage will facilitate communication, feedback between participants as well as documentation of the Autonomy Project.
Location:
Onomatopee, Bleekstraat 23, Eindhoven
Onomatopee 43.1
The Autonomy Project Newspaper 1: Positioning
Contributors:
Becky Shaw (Head MA-Fine Arts Sheffield Hallahm University)
Clare Butcher (curator Your-space, Van Abbemuseum)
Freek Lomme (director Onomatopee)
Jeroen Boomgaard (Lectoraat Kunst in Publieke Ruimte)
John Byrne (Programme Leader BA (Hons) Fine Art, Liverpool School of Art and Design, co-directeur Static)
Juan Cruz (Head of Art and Architecture at Liverpool School of Art and Design)
Steven ten Thije (research curator Van Abbemuseum/Universiteit Hildesheim)
Sven Lütticken (lecturer and supervisor, Vrij Universiteit, Amsterdam)
Thomas Lange (professor Kunstgeschiedenis, Universiteit Hildesheim)
Graphic design:
Sjoerd Koopmans
Partners and collaborators:
Dutch Art Institute, NL
Filter-Hamburg/Detroit, DE/USA
Grizedale Arts centre, UK
Liverpool School of Art & Design, UK
Lectoraat Kunst en Publiek Ruimte, NL
Onderzoekschool Kunstgeschiedenis &
Platform Moderne Kunst, NL
University of Hildesheim, Kunstwissenschaft, DE
Van Abbemuseum, NL
http://theautonomyproject.ning.com
