The Hartwig Art Production | Collection Fund announces the selected artists for the 2020/21 special project
Ana Guedes, Anna Dasović, Em’Kal Eyongakpa, Geo Wyeth, Joy Mariama Smith, Kent Chan, Kevin Osepa, Maria Pask, Mariana Castillo Deball, Mariëlle Videler, Neo Matloga, Ola Hassanain, Family Connection (Quinsy Gario, Glenda Martinus, Rudsel Martinus, Gala Martinus, Jörgen Gario, Caldron Lewis, Whitney Lewis, Leroy Lewis and Quinton & Shaquire Martinus), Saeeda Saeed and Sara Sejin Chang (Sara van der Heide) have been selected for the 2020/21 project of the Hartwig Art Production | Collection Fund.
Each artist receives an honorarium of 10,000 euros to support the continuation of their practice. A further 300,000 euros has been assigned to acquire the works that will be exhibited from September onwards. In keeping with the Fund’s future activities, these works will then be donated to the Dutch national art collection (the “Rijkscollectie”).
The 2020/21 project of the Hartwig Art Production | Collection Fund has been conceived in response to the critical moment artists and institutions are working in now. It aims to emphasise the importance of post academic programmes and residency organisations for artists and curators and the active scene of small- and mid-size institutions in the Netherlands. Highlighting their contribution to a culturally lively and diverse society, the Hartwig Art Production | Collection Fund has invited a vibrant group of these institutions to define the parameters of the 2020/21 project.
The shortlist of the participating artists was drawn from a longlist of 35 artists proposed by the post academic programmes and residency organisations, with whom they have previously worked: De Ateliers, Amsterdam; BAK, basis voor actuele kunst, Utrecht; CBK Zuidoost, Bijlmer; If I Can’t Dance I Don’t Want To Be A Part Of Your Revolution, Amsterdam; Jan Van Eyck Akademie, Maastricht; Rijksakademie van beeldende kunsten, Amsterdam; Tent, Rotterdam.
The curatorial team, consisting of Sharmyn Cruz Rivera, Iris Ferrer, Aude Christel Mgba, Jo-Lene Ong and Rita Ouédraogo, was selected by De Appel and Framer Framed – both of which actively promote an emerging and diverse group of curators.
The newly produced works by the 15 artists will be exhibited from September 2021 onwards across five institutions. Kunstinstituut Melly (Rotterdam) will exhibit works by Joy Mariama Smith, Kent Chan and Maria Pask; Ana Guedes and Em’Kal Eyongakpa will develop and present at Oude Kerk (Amsterdam); Mariana Castillo Deball, Saeeda Saeed and Geo Wyeth at the Vleeshal (Middelburg); Stroom Den Haag will exhibit Neo Matloga, Anna Dasović and Kevin Osepa, and the Casco Art Institute: Working for the Commons (Utrecht) will exhibit Family Connection, Ola Hassanain, Sara Sejin Chang (Sara van der Heide) and Marielle Videler
The curatorial team states: “We strongly believe that the selected artists best represent the kind of aesthetics, narratives and contemporary conditions being explored now in relation to the Netherlands and we are excited to see their entry points and approaches to issues that need more space for discussion. We are also delighted to see how their prac-tice will benefit from the support and positive attention that come with this project.”
Binna Choi, Director, Casco Art Institute: Working for the Commons (Utrecht): “Art is a fine and elaborate practice of imagining, forming, shaping, playing and experimenting. Likewise the institutions that support art and engage with such practices in close relationship with artists, with a lot of administration, maintenance, mediative work also necessary. Moments of change - like now - require this kind of art and art-institutional work to remain sharp and act well. The Hartwig Art Production | Collection Fund brings an opportunity for us institutions, artists, publics and other stakeholders to come together, each with our own capacity and skill, to lift up our common task and address wider, diverse communities. In the case of Casco Art Institute, we look forwards to presenting four different artist projects in the context of cultivating the culture of the commons.”
Roos Gortzak, Director, Vleeshal (Middelburg): "I'm thrilled to collaborate with the Hartwig Art Foundation on this collective project, in which so many people are involved. It's a perfect example of how a group effort with many voices can lead to interesting results. I like the fact that the Foundation doesn't want any control over the processes of nominating and selecting artists, nor over the artists' productions. A quote by Dutch writer Niña Weijers comes to mind: "To experience intensity is to not know how things will end". Furthermore, I think it is of utmost im-portance that artists are supported in the production of new work, so any project that does just that is more than welcome."
Sofía Hernández Chong Cuy, Director, Kunstinstituut Melly (Rotterdam): “At Kunstinstituut Melly, we are thrilled to be part of an initiative that focuses on contemporary artists shaping new legacies and that fosters cross-institutional partnerships.”
Jacqueline Grandjean, Director, Oude Kerk (Amsterdam): “Oude Kerk is thrilled to be dedicating its interhistorical expertise and space to two of the selected artists, Ana Guedes and Em'kal Eyongakpa. We believe in the power of collaborations in the art world and beyond."
Alexandra Landré, Artistic Director Stroom Den Haag: "As an advocate of experimental programming and new forms of collaboration, Stroom is delighted to participate in a cross-pollination between all the institutions involved, together with the Hartwig Art Foundation and others. We are happy to offer Neo Matloga, Anna Dasović and Kevin Osepa a stimulating and hospitable platform, looking forward to the collaboration and to bring them in contact with the lively art scene of The Hague."
Hartwig Art Production | Collection Fund
Encouraging experimentation and creativity at the highest level, the Hartwig Art Production | Collection Fund was established to create a framework and distribute funding to support artists in the realisation of ambitious production ideas. Each year, the series of newly produced artworks will be acquired by the Hartwig Art Foundation and then do-nated to the Dutch national art collection (the “Rijkscollectie”)
The Hartwig Art Production | Collection Fund is managed and overseen by The Hartwig Art Foundation, also established in 2020. The Hartwig Art Foundation has pledged an initial amount of 10 million euros to the Hartwig Art Production | Collection Fund to ensure its activities for the longterm. From 2021 onwards the Hartwig Art Foundation appoints a Commissioning Board alternating on a three-year term. This commission is fully responsible for defining the process of nominating and selecting the artists for the HAF Production | Collection Fund and is independent in their decisions. The Board consists of art experts and representatives from Dutch and International institutions. The commission will ensure that the selected artists and produced works are representative of our time and its productions in art; they will actively engage in discussions about how to build a collection for the future, which will be owned beyond the geo-specificity of a single museum and is available for the collective of institutions in the Netherlands and internationally. Each year, up to five productions will be selected and realized.
For more information, please contact: Rhiannon Pickles email@example.com
The Hartwig Art Production | Collection Fund 2020/21 special project, artist biographies
Ana Guedes is an artist born in Portugal and based in the Netherlands. Her research follows a body of works that deal with a fragmented family history and its engagement with the political entanglements with European Colonial and Post-Colonial narratives. Exploring those layers entails integrating archival material, in particular a family’s archive and cross-referencing public archival material by addressing the collective memory and its sonic substance.
It is within the framework of a vocabulary of metabolic sonic devices, technologies and performative gestures that Ana reflects and explores the capacity for sound and music to convey the complex political and social constructs embedded in the archival material.
By following the almost invisible threads that weave seemingly distant points in time and place, we pursue a hollow zone, where untold and silenced facts float somewhere between reality and fiction, distortion and mediation. These are instruments and gestures towards understanding that maybe the meaning of the source material often lies outside its visible edges, and trying to expand it, unfold it, capture the microscopical frases and repetitions, looping, slowing down time, playing it backwards, layering and sometimes by abstracting, leading to a cosmogony of its own and resisting to be forgotten.
Ana was an artist in residence at the Jan van Eyck Academie (2018-2019), participated in the XVIII Bienal de Cuenca, Prémio Piedra de Sal, Cuenca, Ecuador (2018) and New Artists Award 2017, EDP Foundation - MAAT Museum, Lisbon, Portugal (2017).
Her works, performances and installations were shown in Bostchaft Berlin-Camões Berlin/ MAAT Museum, Berlin, Germany (2019), Frequencia Singular Plural, Centro-Centro Madrid, Spain (2019), Next Arts Festival, Kortrĳk, Belgium (2019), Sonic Dawn - Huomo Novos Festival, Riga, Letonia (2019), November Music Festival, s’Hertogenbosch, The Netherlands (2019).
Anna Dasović is focused on the rhetorical structures that make genocidal violence visible, and those deployed to obscure the politically inconvenient aspects of such conflicts. What are representations of such extreme violence intended to communicate despite their original intentions? What ideological narratives do such representations participate in on a structural level?
Central to her work is an exploration into the figure of the bystander and the ways in which the unimaginable and the unrepresentable—categories produced by the discourse on genocide—are evoked to reject the responsibility of witnessing through representation. Dasović is interested in that rejection and in the exclusion of knowledge that is held in the body but denied by society’s authorizing structures.
With a background in photography, Dasović now uses an interdisciplinary approach including archival research, fieldwork, and interviews. Her work, often the result of long-term engagements, result in installations, video montages, photography, sound or text-based works.
Her work has been exhibited in the Van Abbemuseum in Eindhoven, Framer Framed, Stedelijk Museum and SMBA in Amsterdam, Survival Kit Latvia, Bergen Assembly, Württembergischer Kunstverein Stuttgart, Kunstverein Braunschweig, Museum for Modern and contemporary art (MAMA) Algiers and the Museum of Yugoslav History in Belgrade. She has previously been artist in residence or held fellowships at Künstlerhaus Büchsenhausen, Rijksakademie voor Beeldende Kunsten, MAMA Algiers, Celeia centre for contemporary art Celje, Casa Tres Patios in Medellín and Residencia en La Tierra in Montenegro Colombia.
Em'kal Eyongakpa (b. 1981, Eshobi-Mamfe, Kɛnyaŋ/Dɛnya) Eyongakpa's recent ideas increasingly draw from indigenous knowledge systems, ethnobotany, applied mycology and technology. He is also known for itinerant research spaces and autonomous art hubs; KHaL! SHRINE (Yaounde, (2007-2013), Bɔɔ Bɛtɔk/ ɛfúkúyú, (Amsterdam, 2017-). Eyongakpa holds degrees in Plant biology and Ecology from the University of Yaounde 1 and was a resident at the Rijksakademie in Amsterdam. The artist's work has been shared/experienced at several gatherings and venues around the world.
Geo Wyeth (b. 1984, NYC) is an American artist and educator, working in the realms of music, performance, narrative sculpture, and video.
They just came out with their record ATM FM (2020), recorded in Rotterdam, NL and released into the air through Muck Studies Dept. Muck Studies Dept. is a constellational body employing inherited diasporic/American funk and folk poetics, and techniques of investigative journalism. The project connects mud, water, metal, gas, ass, rocks, coins, extractive industry, deep coloniality, and sensual expression of belonging to that flood. Muck Studies Dept. is also an imaginary city agent surveying the bottom of low-lying water areas, “looking to find stars out of what stinks.” The project has appeared in many forms including public performance, video, poetry, music, and installation, with research in New Orleans, New York, and the Netherlands.
Geo have shown work at the New Museum, Stedelijk Museum Amsterdam, MoMA PS1 (Greater New York 2016), Dutch National Opera, Triangle France, Anthology Film Archives, The Kitchen, TENT (Rotterdam), Arsenic (CH), Biquini Wax (CDMX), LA MoCA, New York Live Arts, The Studio Museum in Harlem, Boston ICA, La MaMa Theatre, Human Resources, The Pyramid Club, Joe’s Pub, and many others. They are co-founder of the queer social space Tender Center (Rotterdam, NL). They have composed music for the narrative shorts Happy Birthday Marsha!, Atlantic is a Sea of Bones, Salacia, and The Personal Things (all directed by Tourmaline), as well as numerous videos of other contemporary artists.
Geo were in residence at the Rijksakademie van beeldende kunsten for the years 2015-2016 in Amsterdam, and currently teach at the Dutch Art Institute (DAI) and the Willem de Kooning Akademie where they focus on embodied tactics of performance, storytelling, and remembering. Geo was funded by the Amsterdam Fonds voor de Kunst in 2017, and the Mondriaan Fonds for research on jazz history, extractive industry, and swamp studies in New Orleans in 2019.
They are currently in residence at the Textiel Museum (Tilburg, NL). They live and work in Rotterdam, NL next to the Maas River.
Joy Mariama Smith is a native Philadelphian currently based in Amsterdam, NL. Joy Mariama Smith’s work primarily addresses the conundrum of projected identities in various contexts. A sub-theme, or ongoing question in their work is: What is the interplay between the body and its physical environment? Rooted in socially engaged art practice, they* are a performance/installation/movement artist, activist, facilitator, curator and architectural designer. They have a strong improvisational practice spanning 20 years. When they choose to teach, they actively try to uphold inclusive spaces.
They studied at the Dutch Art Institute in Arnhem; the NewSchool of Architecture & Design in San Diego; L'École Internationale de Théâtre Jacques Lecoq in Paris; and Oberlin College in Ohio. Their work has been performed internationally, including at If I Can’t Dance Edition VI – Event and Duration, Amsterdam; SoLow Festival, Philadelphia; Freedom of Movement, Stedelijk Museum, Amsterdam; and Ponderosa Movement & Discovery in Stolzenhagen, Germany. Currently, they teach at the School for New Dance Development (SNDO) in Amsterdam, and was a BAK Fellow 2019-2020.
*They/them/their: third person singular gender-neutral pronoun.
Kent Chan is an artist, curator and filmmaker based in the Netherlands and Singapore. His practice revolves around our encounters with art, fiction and cinema that form a triumvirate of practices porous in form, content and context. He holds particular interest in the tropical imagination, the past and future relationships between heat and art, and contestations to the legacies of modernity as the epistemology par excellence. The works and practices of others often form the locus of his works, which have taken the form of film, text, conversations and exhibitions.
He is a former resident of Jan van Eyck Acdemie (2019/20), NTU Centre for Contemporary Art Singapore (2017/18) and Rupert’s Residency Program (2015). He has held solo presentations at Bonnefanten Museum, National University Singapore Museum and SCCA-Ljubljana, Centre for Contemporary Arts, Slovenia. His works has been exhibited in venues including Stedelijk Museum Bureau Amsterdam, EYE Film Museum, Institute of Contemporary Arts, Haus der Kulturen der Welt, Busan Biennale, Drodesera Festival of Performing Arts and National Taiwan Museum of Fine Arts.
Kevin Osepa was born and raised in Curaçao and lives in the Netherlands. Based on his identity, he captures what an Afro-Caribbean identity means in a post-colonial world. He researches the hybrid identity that comes to exist from immigrating from the former Dutch Antilles to Europe. He uses film and photography to create magic realist narratives on Afro-spirituality, sexuality, masculinity, and family.
Osepa (Curaçao, 1994) graduated from the Utrecht School of the Arts in 2017. In 2020 he was also nominated for a Golden Calf and best debut at the Netherlands Film Festival. Osepa has exhibited at the Wereldmuseum, the Nederlands Fotomuseum, Unseen, Stedelijk Museum Schiedam and TENT Rotterdam.
Maria Pask is an Amsterdam-based artist whose work investigates the dynamics of collective creativity, empowerment and community service. Her recent projects are centered on working as an artist in a service-based role within local communities in Amsterdam.
Born in Mexico in 1975 and now living between Berlin and Mexico City, artist Mariana Castillo Deball has a multidisciplinary practice, working across diverse mediums as well as various fields of study. After completing a Master of Fine Art from the National Autonomous University of Mexico in Mexico City, Castillo Deball undertook the postgraduate program of the Jan van Eyck Academie, Maastricht in 2002–03.
Castillo Deball’s chimerical, changing practice incorporates, among other mediums, sculpture, film, photography, drawing, ceramics, printmaking (including lithography, linocut and woodblock prints) and book making. In her installations and research-based projects, objects take on the role of characters in a play or opera that have been removed from their times and circumstances in order to convey meaning through new contexts. Castillo Deball’s work recent solo presentations include Modern Art Oxford, England (2020), Museum Monash University Museum of Art, Melbourne (2019) Witte de With Center for Contemporary Art, Rotterdam (2019); New Museum, New York (2019); Reva and David Logan Center for the Arts, Chicago (2018); and Museo Amparo, Puebla, Mexico (2018). Major group exhibitions include Sharjah Biennial 13 (2017), 32nd Bienal de São Paulo (2016), Aichi Triennale (2016), Liverpool Biennial (2016), 8th Berlin Biennale (2014) and dOCUMENTA (13), Kassel (2012). In 2013, she was awarded the Preis der Nationalgalerie of the Staatliche Museen zu Berlin, resulting in her major exhibition Parergon at Hamburger Bahnhof – Museum für Gegenwart – Berlin in 2014. Alongside her artistic practice, Castillo Deball teaches. She has been a professor at the Academy of Fine Arts Münster, Germany since 2015.
Visual artist Mariëlle Videler (NL, 1970) works across media, creating installations, drawings, objects, videos and performances. Based on the belief that all organisms have equal value, she creates a pathway through the textures of the world. She explores a new, intensive way of feeling, perceiving and acting. Identifying herself with a traveler who makes physical, but above all imaginary journeys. For the past ten years she has done intensive research into the knowledge, ideology and craft of indigenous cultures such as the Colombian Kogi and the Inuit of Greenland. Her work is a sensory search for consciousness and physicality.
Mariëlle Videler studied at the Academy for Visual Arts, Tilburg, and the Fine Arts Department of the Sandberg Institute, Amsterdam. Her work has been exhibited at artist initiatives, galleries, museums and festivals around the world, such as Today Art Museum, Beijing, International Sinop Biennial (Turkey), MASP and Galeria Vermelho, São Paulo, Brazil, FLORA ars+natura in Bogota, Institut Néerlandais, Paris. Mariëlle Videler is represented by Lumen Travo Gallery in Amsterdam and supported by the Dutch Mondrian Fund. She was the founder and artistic director of the Amsterdam based initiative Performance Lab from 2004 to 2012, a collective research lab for performance art.
Neo Matloga was born in 1993 in Mamaila, Limpopo, South Africa, and is currently based between Mamaila and Amsterdam. He studied Visual Art at the University of Johannesburg, and completed a residency at De Ateliers, Amsterdam, with a focus on painting. Matloga won the 2018 Koninklijke Prijs voor Vrije Schilderkunst. A solo exhibition, Neo to Love, took place at the Fries Museum, Leeuwarden, in 2019, and a solo presentation formed part of Good Morning Midnight at De Ateliers in 2018.
Group exhibitions include ofte vojagantoj, Wilford X, Belgium (2019); Still Here Tomorrow To High Five You Yesterday, Zeitz MOCAA, Cape Town (2019); Winter Sun, Stevenson, Amsterdam (2019); De Volkskrant Beeldende Kunst Prijs, Stedelijk Museum, Schiedam (2019); BIG AND PLENTY, Foundation AVL Mundo, Rotterdam (2019); About Face, Stevenson, Cape Town (2018); Koninklijke Prijs voor Vrije Schilderkunst, Koninklijk Paleis, Amsterdam (2018); Tell Freedom, 15 South African artists, Kunsthal KAdE, Amersfoort (2018); LET'S SEE, WHERE WERE WE, IN THE PIT OF DESPAIR, De Ateliers, Amsterdam (2017); Post Its, South African Constitutional Court, Johannesburg (2016); Time Line, The Bag Factory, Johannesburg (2015); South African and Chinese exchange, Workers Museum, Johannesburg (2015) and South African New Voices, Washington Printmakers Gallery, Washington DC.
He has taken up residencies at Foundation AVL Mundo, Rotterdam (2019); Thami Mnyele Foundation, Amsterdam (2018); Zeitz MOCAA, Segera, Laikipia, Kenya (2018) and The Bag Factory, Johannesburg (2015).
Matloga was nominated for De Volkskrant Beeldende Kunstprijs in 2019 and was among the artists shortlisted for the 2015 Taxi Art Award.
Ola Hassanain trained her focus on the subtle politics of space—namely, how built spaces react to and reinforce violence from state entities, which in turn creates a built environment that reflects, responds to, regulates the lives of those who inhabit it. Her most recent work explores an idea of “space as discourse,” an expanded notion of space that encompasses political and environmental questions. Her work tries to develop a spatial vocabulary that follows how ruptures presented by 'political events', make it possible to aspire to new kinds of ecologies.
Ola’s work propositions alternative readings of space-the ‘just is’ state of architecture against the State terror on our lives, our ways of being as a people and a real landscape/geography that goes beyond the ‘Built Environment’. She started collaborating in spaces that helped her mediate and conceptualise space as political discourse, opening it up and inviting more workable geographies that would stress imagining possibilities outside of State terror.
In 2017, Ola became a fellow at BAK basis voor kunst in Utrecht, Netherlands. Her research titled: Doing Family- was reference to how her state of Diaspora necessitated expanding on the spatial paradigms that bound us to walls and locations where we are neither seen nor liberated subjects. In 2018, she was awarded the Flexible Grant by the Prince Claus Fund, for the project: Our Stakes in your Rhythm. In 2019 Her work contributed to the Chicago Architecture Biennale, Sharjah Architecture Triennale and in 2020 La Internationale’s Windows and Balconies: Artists in Quarantine and the Kunstenfestivaldesarts. Ola currently teaches at ‘Art in Context’ HKU and is a PhD-in-Practice candidate at the Academy of Fine Art Vienna. She is now developing her artistic research towards developing spatial literacies that can cultivate architecture as an extension of new kinds of ecologies.
Quinsy Gario is a performance poet and artist from Curaçao and St. Maarten. His work centers on decolonial remembering and unsettling institutional and interpersonal normalizations of colonial practices. Gario's most well-known work is Zwarte Piet Is Racisme (2011–2012). As a member of the collective Family Connection established in 2005 by Glenda Martinus and Gala Martinus, respectively his mother and aunt, his current research is attempting to institute another way of archiving.
He is a Utrecht University media studies, gender studies and postcolonial studies alumnus and a graduate of the Master Artistic Research program of the Royal Academy of Art The Hague. He is a 2017 Humanity in Action Detroit Fellow, 2017/2018 BAK Fellow, 2019/2020 APASS participant and a 2020/2021 Sandberg Institute Critical Studies Fellow. Gario received the Royal Academy Master Thesis Prize 2017, the Black Excellence Award 2016, the Amsterdam Fringe Festival Silver Award 2015, The Kerwin Award 2014 and the Hollandse Nieuwe 12 Theatermakers Prize 2011. His work has been shown in among other places Van Abbemuseum (Eindhoven), MACBA (Barcelona), Latvian National Museum of Art (Riga), Stedelijk Museum (Amsterdam), MHKA (Antwerp), TENT (Rotterdam) and Göteborgs Konsthall (Gothenburg). Gario is also currently running for Dutch parliament as a candidate for the political party BIJ1.
Visual activist Saeeda Saeed (1988, Jeddah, Saudi Arabia) has spent the last number of years developing guerrilla communication platforms that transgress Saudi state-controlled media. Her practice collectivizes power through incremental, joint collaborations with self-organized microstructures within her community. In 2015, Saeed set up a series of DIY Pirate Radio networks in tandem with underground musicians, erotic poets, nudist artists, members of the LGBTQIA community, and illegal immigrants transmitting over 270 hours of alternative narratives within the kingdom.
In her residency at the Jan van Eyck Academie, Saeed looks at different manifestations of her identity as an activist injecting play, performance, fiction and movement. In her more recent work, Saeed pivoted to design interventions within twitter in response to recent legislations that reconstituted “the act of retweeting narratives that go against the state or religion” as an act of terrorism. Saeed devised a series of counter posting strategies to drown out official state-run tweets and allow users to safely mask their IP locations. Among them is an Instant Meme Noise Reactor (2020), an object that spits out nonsensical, humorous insults to state-run accounts each time they post and a Portable Clickfarm (2019) that utilizes physical movement and the human body as a disruptive tool in gaining digital autonomy.
Since the late 1990s, Korean-Dutch artist Sara Sejin Chang (Sara van der Heide) has created a rich body of work that traverses an array of formats and mediums, including film, writing, immersive installations, performances, and painting. Chang combines spiritual evocations, historical research and the unraveling of colonial narratives creating works that act as historical repair, healing and belonging. With repetition and insistence, Chang has been questioning Eurocentric systems of categorization, racialization and its penetration in all levels of life and contemporary Western society. Her work can be seen as poetic and intimate gestures that centralise a meta-cosmic and inclusive approach to modernity, transforming the meaning of value and time.
Sara Sejin Chang (Sara van der Heide) was born in 1977 in Busan, South Korea. Chang is a former resident of De Ateliers, Amsterdam (1999-2001), and has been an artist in residence at ISCP, New York (2007) and at WIELS, Brussels (2016). Her work has been shown at the 11th Berlin Biennale, Berlin; Dhaka Art Summit, Bangladesh; Mu.ZEE, Ostend; Contour Biennale 9, Mechelen, Belgium; 6th Kuandu Biennale, Taipei; Argos, Brussels; Stedelijk Museum Amsterdam, Amsterdam; Van Abbemuseum, Eindhoven; Sharjah Biennial 13, Beirut; the 1st Asia Biennial/the 5th Guangzhou Triennial, Guangzhou; The School of Kyiv: Leipzig Class. Seminar: Politics of Form, Part of the Kyiv Biennial; the 19th Biennale of Sydney; the 11th Incheon Women Artists’ Biennale, Incheon; KIOSK, Ghent; M HKA, Antwerp; If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, various locations; De Pont, Tilburg; Fondazione Giuliani, Rome; De Appel, Amsterdam; Marres, Maastricht; Walker Art Center, Minneapolis; Temporary Gallery, Cologne; De Vleeshal, Middelburg; 44th and 45th International Film Festival Rotterdam; Espai d’art Contemporani de Castelló, Spain; CAAC, Seville.
Chang lives and works in Amsterdam and Brussels
The Hartwig Art Production | Collection Fund
A new art fund has been established in The Netherlands, created to help artists realize ambitious productions. Projects realised with the Funds’ support will be acquired by the Hartwig Art Foundation and donated to the Dutch National art collection.
Encouraging experimentation and creativity at the highest level, the Hartwig Art Production | Collection Fund creates a framework and holds the funding for an annual series of new artworks, collaborating with artists to help them realize ambitious production ideas. Upon production, the artworks will be donated to the national art collection through the Hartwig Art Foundation, thus contributing permanently to Dutch and international society.
Ingrid van Engelshoven, Minister of Education, Culture and Science, The Netherlands said: “Fantastic that the Hartwig Art Production | Collection Fund is coming! Thanks to the efforts of the Hartwig Art Foundation, this artistic project supports young artists in actually shaping their creative ideas and innovative projects. This is badly needed in these times. In addition, it is important that their works of art are preserved for the Netherlands through donation to the Dutch state.”
For its inaugural year, the Hartwig Art Production | Collection Fund proposes a special project that will run over the course of 2020-2021 and will respond to the critical moment artists and institutions are working in now.
To emphasize the importance of post academic programs and residency organizations for artists and curators in The Netherlands, highlighting their enormous contribution to a culturally vibrant society, the Fund is inviting their alumni to define the parameters of the 2020/21 project.
The Rijksakademie van beeldende kunsten Amsterdam (which celebrates in 2020 its 150th year), the Jan van Eyck Academie (Maastricht), De Ateliers and If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution (both based in Amsterdam), BAK basis voor actuele kunst (Utrecht) and CBK Zuid Oost/AIR residency (Bijlmer) and Tent (Rotterdam), all of whom work with artists, are invited to nominate a long-list of 35 artists who have attended their programs.
A group of small and mid-size institutions across the country will receive support to present newly completed works by the participating artists in 2021. The institution formerly known as Witte de Center for Contemporary Art (Rotterdam), the Vleeshal (Middelburg), Casco Art Institute (Utrecht), Stroom Den Haag and Oude Kerk (Amsterdam) have committed to presentations in the second half of 2021.
De Appel and Framer Framed - both of which actively promote an emerging and diverse group of curators - have nominated five curators, Sharmyn Cruz Rivera, Iris Ferrer, Aude Christel Mgba, Jo-Lene Ong and Rita Ouédraogo, who will be employed by the Hartwig Art Foundation as the curatorial team for this project. Together with the presenting partners the curators will determine the criteria, guidelines and process of selecting 15 participating artists from the long-list. This final group of 15 artists will be invited to participate in the 2020/21 project, with at least one artist represented from each nominating institution in the final list.
The curators will support and collaborate with the artists from the moment of their selection to the presentations of their work: “We are looking forward to the great responsibility and honor of curating an acquisition of contemporary artworks for the Dutch national collection. We are also delighted to be working closely with artists and some of the most forward thinking cultural institutions in the Netherlands. Together, we aim to rethink and reevaluate what relevant but overlooked narratives and artistic approaches are and how they can be made visible through this project.”
The 2020-2021 budget is 700,000 euros. Each artist will receive an honorarium of 10,000 euros to enable the continuation of their practice; 300,000 euros has been assigned to acquire newly produced works by the selected artists, and - in line with the Funds future activities - these works will then be donated to the Rijkscollectie and thus to the Dutch State.
The Hartwig Art Production | Collection Fund believes in the contribution that the arts make to civic society and to the common good. Furthermore, the Fund believes in the importance of building and sustaining cultural heritage and in the strengthening of social awareness and identity through a shared national collection.
By donating in this way to the State collection, the Hartwig Art Production | Collection Fund is working to build upon and enrich our existing common heritage and also to encourage an active role and discussion concerning civic ownership, collection building and care taking for art.
Artists working in all disciplines and of any generation are eligible for the Fund: from the visual arts (painting, sculpture, installation and drawing) to time based art disciplines (performance, film, video) and works in the digital and public space.
The Hartwig Art Production | Collection Fund is managed and overseen by The Hartwig Art Foundation, also established in 2020. The Hartwig Art Foundation has pledged an initial amount of 10 million euros to the Hartwig Art Production | Collection Fund to ensure its activities for the longterm. From the end of 2020 onwards the Fund will appoint a Commissioning Board which will be responsible annually for defining the process of nominating and selecting the artists. The Commissioning Board will be composed of art experts and representatives of national and international institutions, in order to ensure productions are anchored in the concept of the ‘Collectie Nederland’ (the Dutch National State Collection) and also to establish the projects, artists and artworks internationally. Each year, up to five productions will be selected and realized. Neither the Fund nor the Foundation will have any control over the processes of nominating and selecting artists, nor will they have any control over the artists’ productions. Each Commissioning Board will be appointed for a three year term.
For more information, please contact: Rhiannon Pickles firstname.lastname@example.org
Appendix: 2020-2021 Special Project Curator biographies
Sharmyn Cruz Rivera is a Puerto Rican curator and writer now based in Amsterdam. Her research departs from meditations on human geography, radical manifestations of identity, and methodologies of collaboration. Most recently, Cruz Rivera served as Project Manager at Volume Gallery and as Associate Curator at The Green Lantern Press based at Sector 2337 in Chicago. Cruz Rivera holds an MA in arts administration and policy from the School of the Art Institute of Chicago and a dual BA in art history and modern languages from the University of Puerto Rico. She was a participant of the 2019-2020 Curatorial Program at de Appel. Sharmyn has been a resident at Ox-Bow School of Art and Artists’ Residency (Saugatuck, MI), Summer Forum for Inquiry + Exchange (Kaneohe, HI), Roots and Culture (Chicago, IL), ACRE (Steuben, WI) all in the United States. She was the recipient of the Gaylord & Dorothy Donnelley Foundation Curatorial Fellowship. She is the co-editor of This may or may not be a true story or a lesson in resistance, a de Appel publication due to launch in the fall of 2020.
Iris Ferrer is a freelance cultural practitioner from Manila, Philippines and now living in Amsterdam. She was recently part of the 2019-2020 de Appel Curatorial Program and is the 2020-2021 de Appel Curatorial Research Fellow. She has worked as a writer, researcher, project manager and curator across the field of contemporary visual arts and alongside Philippine and regional-based plat-forms and collaborators. In her involvement with the largely-independent infrastructure of artistic communities such as Back to Square Juan, she developed strategies for cultural production, com-munity engagement and collaborative curatorial work. Her involvement in attempts to renegotiate the position of VIVA ExCon, the longest running artist-led biennale in the wider Philippines art world, led her to the position of managing curator for its 2018 edition. Her work revisits Philippine cultural histories by enacting new approaches to archiving and exhibition-making, she has also assisted in providing discursive platforms across the region.
Aude Christel Mgba is an independent curator and art historian based between the Netherlands and Cameroon. She was a participant of the De Appel 2018/19 curatorial Program. In 2017, Aude worked as an assistant curator for the SUD2017, an international triennial of art in the public space, organized by doual'art, a center for contemporary art, for the city of Douala. She is a member of the Madrassa Collective, a group of eight curators from Africa, Middle East and Europe. She is co-curator of sonsbeek20->24 exhibition, an international exhibition in the city of Arnhem under the Artistic direction of Bonaventure Soh Bejeng Ndikung. Aude is a nominee of the fifth edition 2020-2021 of Forecast-Mentorships for Audacious Minds in Berlin; Her project proposal is mentored by Koyo Kouoh. She is also invited curator to ARTEZ Studium Generale Studies on the Future of Art School from September 2020 until February 2021.
Jo-Lene Ong is an independent curator working from Amsterdam, the Netherlands. She got her start in the field at the intersection of arts and social activism in Kuala Lumpur, Malaysia. Her interests are in deploying non-western epistemic paradigms and more embodied ways of knowing as modes of extending boundaries. Jo-Lene is co-curator of visual arts and theory at Other Futures, a multidisciplinary festival for science fiction and speculative visions of the world. She teaches at the Gerrit Rietveld Academie, Amsterdam and recently co-edited Practice Space a volume around locally embedded art initiatives. Jo-Lene was awarded the de Appel Curatorial Research Fellowship 2018-19 after completing their Curatorial Program 2017-2018. Recent exhibitions include unpacking the 3Package Deal (2020) for Amsterdam Fonds voor de Kunst; Elsewheres Within Here (2019) at Framer Framed, Amsterdam; SUNSHOWER: Contemporary Art from Southeast Asia from 1980s - Now (2017) at the National Art Centre, Tokyo and Mori Art Museum, Tokyo.
Rita Ouédraogo lives and works in Amsterdam. As a curator, writer, Research and Community programmer, her work is informed by her interest in African diaspora, decolonizing institutions, institutional racism, popular culture and social issues. Ouédraogo has worked on several community based projects based around museum collections and is informed by her ongoing research into questions of Samenwerking en Solidariteit (Collaboration and Solidarity), that explores modes of collaborative practices across power differentials, especially within a decolonial framework.
The Hartwig Art Foundation Production | Collection Fund: 2021 - 2023
From 2021 onwards the Hartwig Art Foundation appoints a Commissioning Board alternating on a three-year term. This commission is fully responsible for defining the process of nominating and selecting the artists for the HAF Production | Collection Fund and is independent in their decisions. The Board consists of art experts and representatives from Dutch and International institutions. The commission will ensure that the selected artists and produced works are representative of our time and its productions in art; they will actively engage in discussions about how to build a collection for the future, which will be owned beyond the geo-specificity of a single museum and is available for the collective of institutions in the Netherlands and internationally, and they will make their decisions with the concept of the ‘Collectie Nederland’ (the Dutch National State Collection) in mind.
The 2021 - 2023 Commissioning Board has been appointed and will be announced publicly soon.
Projects & Programmes
Love is the message, the message is death & the white album
In June 2020 the Hartwig Art Foundation cooperated with the Stedelijk Museum and deBalie in order to realise a unique exhibition of two seminal films by the acclaimed artist Arthur Jafa. The films were shown daily at deBalie from 21 - 25 June and on 28 June there was a Conversation at deBalie in response to it, led by Jörgen Tjon A Fong, with - among others - artists Charl Landvreugd, Iris Kensmil and Raul Balai.
Sunday, 21 June to Thursday
25 June, 2020
Sunday, 28 June 2020
Daily 11:00 am to 5:00 pm
in several timeslots
De Balie, Kleine-Gartmanplantsoen 10, 1017 RR Amsterdam
Conversation at De Balie led by Jörgen Tjon A Fong, with, among others, artists Charl Landvreugd, Iris Kensmil and Raul Balai.
The Hartwig Art Foundation supported this exhibition financially and through the loan of Jaffa’s film “The White Album”. For more information and online booking of timeslots: debalie.nl
About Arthur Jafa
For more than three decades Arthur Jafa (born 1960, Tulepo, Mississippi) has developed powerful artworks that refer to and question representations of blackness and whiteness. His work has been on view in museums, at film festivals and in art centers worldwide.
Jafa is an artist, director, editor, and award-winning cinematographer whose poignant work expands the concept of black cinema while exploring African American experience and etnic relations in everyday life. He has stated, “I have a very simple mantra and it’s this: I want to make black cinema with the power, beauty, and alienation of black music. ”Jafa has developed a dynamic practice comprising films, artifacts and happenings that reference and question the universal and specific articulations of black being. Underscoring the many facets of Jafa’s practice is a recurring question: how can visual media, such as objects, static and moving images, transmit the equivalent power, beauty and alienation embedded within forms of black music in US culture?
Works on view
LOVE IS THE MESSAGE, THE MESSAGE IS DEATH, 2016
Video (colour, sound), 07:00 minutes, looped
Collection of the Museum of Contemporary Art Chicago, and the Stedelijk Museum Amsterdam
Love Is The Message, The Message Is Death (2016) is a masterful 7-minute video of found footage set to Kanye West’s transcendent, gospel-inspired hip-hop track Ultralight Beam. The film traces African-American identity through a vast spectrum of contemporary imagery. From photographs of civil rights leaders watermarked with “Getty Images” to helicopter views of the LA Riots to a wave of bodies dancing to The Dougie. While Love Is The Message, The Message Is Death poignantly embodies the artist’s desire to create a cinema that “replicates the power, beauty and alienation of Black Music,” it is also a reminder that the collective multitude defining Blackness is comprised of single individuals, manifold identities and their unaccountable differences.
THE WHITE ALBUM, 2018
Video (color, sound), approximately 40:00 minutes, looped
Collection of the Museum of Contemporary Art Chicago, and Hartwig Art Foundation, commissioned by the University of California, Berkeley Art Museum and Pacific Film Archive (BAMPFA)
The White Album (2018) is Jafa's follow up to Love is the Message, The Message is Death and an unsparing portrait of whiteness in contemporary America. In this 40-minute film, Jafa weaves together Internet testimonials, broadcast clips, music videos and amateur home videos to form an audiovisual tapestry of etnic relations in America. Under Jafa's lens, but from two angles, we see that neither experience can be understood in isolation from the other.
The Centraal Museum, Utrecht
The Centraal Museum in Utrecht is organising contemporary art exhibitions in Oud-Amelisweerd, a country house on the outskirts of the city of Utrecht with the support of The Hartwig Art Foundation. From 2022 two exhibitions of renowned Dutch artists will be presented on the first floor of Oud-Amelisweerd each year.
The Foundation supports all systemic activity fields that foster and facilitate the production, presentation, communication and preservation of art for society, the public domain and the common good.
Art here includes all media of the visual arts, time-based arts and future art forms in the broadest sense that are related to the continuous development of media and technologies. The production, presentation, mediation and preservation of art aims, in particular, at the sustainable promotion of a cultural environment for society as a whole, both in terms of infrastructure and people.
The Foundation strives to support artistic production and to sustain institutional structures as places for people and continuous development. Promoting artistic exchange in all formats, it is also concerned to promote the societal ownership of processes and materials of art.
Assets & capital
The Foundation's assets consist of subsidies, gifts, bequests and assets obtained through inheritance, as well as other benefits. The Foundation does not engage in any activities to acquire these funds. The Foundation does not hold more capital than is reasonably necessary for the continuity of the activities planned in support of its objectives. Pursuant to the Foundation's articles of association and its actual activity, no single person within the Foundation has decisive control. Therefore, no single person can have access to the assets of the Foundation as if it were equity capital.