A Concise History of the Amsterdam Lumber Docks

Saturday, August 31, 2019 - Sunday, October 20, 2019


Dirk van Weelden reads out loud his column during the launching of Van hout ...

''(...) Van hout en de dingen die voorbijgaan wil de geschiedenis downloaden in de publieke ruimte (...)'' - Edo Dijksterhuis in Het Parool

Delphine Bedel - Inez de Brauw - Koos Buster - Iede Reckman

Since the growth of the world trade also lumber became a booming business. Until the end of the 19th century lumber arrived in the Netherlands via the Zuiderzee, Delfzijl and Zeeland. After the completion of the North Sea Channel in 1876 three lumber ports have been dug out in Amsterdam. From all over the world all kinds of lumber were imported, ignoring the enormous deforestation that took place at that time.

Gradually transportation of wood took place over land. Furthermore many governments forbade the import of most endangered species of wood at the end of the last century. This new era implied the decline of the lumber ports.

Nowadays, it is hard to grasp the turbulent history of the Amsterdam lumber port(s). The last two decades they were transformed into a modern, almost climate neutral residential area with about 7.000 apartments and dwellings.

In an exhibition dedicated to the history of this remarkable area, artists Delphine Bedel (photography), Inez de Brauw (painting), Iede Reckman (sculpture) and Koos Buster (ceramics) interpret some of the phases of this transformation.

Friday August 30 at 5 pm the exhibition will be opened with a live column by essayist and novelist Dirk van Weelden.

The exhibition has been made possible by the financial support of the Institut Francais aux Pays Bas, the Amsterdam Fund for the Arts (AFK) and Prins Bernhard Cultuur Fonds (PBF)

Related:

Delphine Bedel, Inez de Brauw, Koos Buster en Iede Reckman



Opening Smoke and Mirrors 10-11-2017


Nina Glockner

Nina Glockner studied philosophy in Berlin, visual art in Groningen and Istanbul and received her MFA at the Sandberg Institute in Amsterdam. Her work has been shown during festivals and in exhibitions in the Netherlands, Japan, Germany and Brazil. She is a guest lecturer at art academies in Ghent, Amsterdam and Zurich and currently works as a research assistant at the Faculty of Media Theory at the University of Applied Arts in Vienna.

http://www.ninaglockner.de/

Related:

Je Verdient Het


Balta


photography: Natascha Libbert

About Balta (1958 Marseille, France)

French but Holland based graphic designer/visual artist Balta (alias Anne-Marie Durand) notions like language, attitudes and habits which determines someone's identity, never can be taken for granted. Identifying somebody offers a quite personal look on somebody and his/her entire world and on her/his entire biotope. Naming and framing something in a particular way, after all also signifies looking dfferently to something or someone.

Balta explores in her work all possible  influence that play a part in some one's identity

Balta lives and en works in Amersfoort (NL)

http://www.baltainholland.nl


Thierry Oussou


Thierry Oussou exploring the Houthaven

Thierry Oussou (1988, Allada, Benin) lives and works in Amsterdam, the Netherlands. Oussou refers to his current practice as social archaeology, exploring the relationship between contemporary art and ethnographic objects. Through paintings and drawing installations he frames questions around authenticity and visibility in relation to heritage and archaeology. In 2011, Oussou founded Yè Art Studio and has since continued to give art and visual culture workshops in institutions across Benin.

Oussou was a resident artist at the Rijsakademie van Beeldende Kunsten, Amsterdam (2015-2016). In 2016, he was awarded the first Jacqueline van Tongeren Fellowship at Rijksakademie V.B.K. and was nominated for the Dutch Royal Award for Modern Painting. 

Related:

Une histoire: le miel aux lèvres


Balta

Friday, March 29, 2019 - Saturday, April 20, 2019


Image: Balta

Lost paradise: from Utopia to Dystopia

Balta shows a pilot in Cargo in which she explores the tenability of cultural identity. She got inspired by the weird history of the island Tahiti, since 1880 as French Polynesia under French protectorate. She argues that this is a perfect example of how a cultural identity can be manipulated by external influences. In 1768 the French thought to have discovered an earthly paradise. This so called Tahitian myth, a western male Utopia, originated by the particular generosity to early visitors by offering them young virgins. Visual artist Paul Gauguin among many others made abundantly use of this mythe. Until today Tahiti has been redesigned as a sun-drenched paradise for mass tourism. Therefore the island has been consciously transformed into a tourist theme park. At the other side of the ‘heavenly spectrum’ from 1966-1996 France has executed many nuclear tests with devastating consequences for the entire region.

Balta’s recent artist book ‘Misunderstandings’ functions as point of departure for her presentation in Cargo. Based on the history and language of Tahiti, Balta depicts with various means the topical subject of cultural identity and transformation that takes place everywhere.

Balta lives and works in Amersfoort (NL)

http://www.baltainholland.nl


Marieke Zwart


Push/Fall/Repeat, 2017 nr 3 of Lithographic series (of 6)

Marieke Zwart is an artist based in Amsterdam. In her work she explores spaces of contact, through a practice that is based on drawing and video works. Her works are built from socially engaged practices, reflecting on art historical and relational issues. She is interested in social definitions of empowerment and independency, the Dutch colonial past and personal narratives in relation to society.

http://mariekezwart.nl

Related:

Je Verdient Het



Opening Smoke and Mirrors, a project by Maurice Bogaert



Cirkel by Basje Boer live column (2)


Cargo in Context


Cargo in Context
Haparandadam 7-B8, 1013 AK Amsterdam
The Netherlands
e: info@cargoincontext.org
m: +31 (0)6 21439157

Facebook | Instagram

Business hours
Thursdays - Fridays 12.00 – 5.00 pm
Saturdays 1.30 - 5.30 pm
Sundays only during public events 1.30 - 5.30 pm

Accessibility
Cargo is accessible with your own transport: one can easily find a (paid) parking place; free parking on Sundays! The parking code is 18409.

From Amsterdam Central Station-IJburgzijde one will find both bus 48 and 22, which will bring you to de Houthaven; from bus stop Danziger Bocht | Koivistokade it takes a 5-minutes-walk to De Bonte Zwaan.
Check gvb.nl for the current time-schedule.

Legal status body Cargo in Context
Cargo in Context is a foundation, with ANBI-status, registered at the Kamer van Koophandel Amsterdam, under number 52096939

Cargo-board
Paul ’t Hart, professor Public Administration Utrecht University (chair)
Marjolijn Bronkhuyzen, department manager marketing EYE Film Museum Amsterdam (member)
Joseefke Brabander, faculty director Academy for Architecture and Urban planning (treasurer)
Lia Gieling, founder | curator (secretary)

Lia Gieling is the founder of and curator at Cargo; and since September 1st 2019 part-time supported by Marleen Schans (MA Museum Studies).


Blood Sugar

Friday, September 1, 2017 - Sunday, October 22, 2017


Blood Sugar by Patricia Kaersenhout

Blood Sugar

About Patricia Kaersenhout (1966)

Important themes in the body of work of visual artist and culture activist Patricia Kaersenhout are colonialism and slavery and its nasty consequences for many generations. On the one hand to speak out loud on behalf of so many people who dealt and still deal with its consequences and on the other hand because Caribbean tradition plays an important role. The history of ancestors has been transmitted via the body and so also Kaersenhout carries these embodied memories with her. For her giving way to these emotions in her work, is an outstanding way to give back the dignity to her ancestors that once has been taken away so merciless.

Patricia accepted Cargo’s invitation to develop a new work about that heavily ignored part of Dutch slavery history. During her research time and again she came across the Dutch production of sugar and its trade and respectively on sugar in relationship with slavery. It became clear to her that since the 16th century the Netherlands enriched themself at the expense of so many lifes of slave mades.

Concise history of sugar and slavery

Since the Spanish blockade of the river Schelde in 1585, the gradually booming sugar trade moved from Belgium up to the north, where Amsterdam merchants invested with great enthusiasm in this profitable market. The Dutch proved out to be pioneers in the production and trade of sugar across the Atlantic Ocean. The West-Indian Company, founded in 1621, took over from the Portuguese the most rich sugar plantations in Brazil. These served for many years as a model for other Caribbean plantations. When the native plant labourers died massively due to the miserable working and living conditions, the colonisers changed their tack. Because the demand for sugar seemed endless, they made slaves of people from Western Africa and shipped them via Europe to the Caribbean to have them worked on the sugar plantations.

The migration of labour and capital across the Atlantic Ocean is as interrelated with the production of sugar as the history of the Atlantic trade is interrelated with slavery. To put it less mildly: the sugar industry was one of the pillars of the new Atlantic economy.

Sugar and blood

DNA-tests on remnants of bones proved out that the slave mades had to work so inhumanly hard, that their muscles came loose from their bones. With girls their period stayed away and they did not grow older than 24 years. The sugar mills grinded non stop and the slave mades got barely 3 hours of rest a day. After the sugar cane had been cut down, it had to be put through the wringer manually. It often happened that their limbs were trapped in that wringer. Feared to lose too much time those limbs were cut off with an axe by one of the slave drivers. It dos not need more comment that also blood and sugar are very much interrelated.

Sugar bakeries

The sugar was sold by so called sugar cones, made in the sugar bakery, of which the first had been erected in Amsterdam in 1593 while in the middle of 17th century already 66 were active.

In those days the Republic produced more than the half of European sugar: it processed more than 35 million pounds of raw sugar. By its tropical origin sugar was not cheap at all and its luxurious character was emphasized by the import duties charged by most provinces. Nevertheless, by its booming production sugar became within reach for many more consumers. Sugar could be regarded as one of the first forms of mass consumption.

Amsterdam and sugar

Between 1741 and1744 many slave ships left from the Reublic to Suriname. Besides from Walcheren, then also from the port of Amsterdam, which in those days was located next to the current Maritime museum. Many many years later - without scruples - the street names near Westerdoksdijk are named after these former slave ships. The river IJ, the ships used to navigate, interconnects the emotionally charged history of the Westerdok, de Houthaven and Kattenburg. The Trans Atlantic Slave Trade database concluded with their investigations that on these ships a total of 14.606 Africans were captured, of whom 13.153 reached Suriname, where they were sold as slaves. At least 1.453 persons did not survive the crossing.

Blood Sugar

Kaersenhout offers Cargo’s visitors food for thought and exercises their imagination as she pictures slavery and its on going consequences in a most probing way. The series of bloodshot sugar cones in the project space stands for centuries of suffering. On one of the walls we become aware of the names of slave mades who purchased freedomjust in time befor crossing of the Atlantic Ocean.

Public program Blood Sugar

1. Film screening Sporen van Suiker (Traces of Sugar) (2017) by Ida Does

2. Artist' talk between Wendelien van Oldenborg, Charl Landvreugd and Patricia Kaersenhout

3. Black Heritage Tour by boat along sites in Amsterdam like 'sugarbakeries' andmerchant dwellings

http://www.pkaersenhout.com

Related:

Patricia Kaersenhout


Je Verdient Het

Friday, June 15, 2018 - Sunday, July 29, 2018


Review Parool, Verdient Het by Joanneke Meester, 2018

Je Verdient Het was a recurring text image of visual artist Joanneke Meester in the public space around Cargo. This work by Meester was tagged on various facades in the Houthaven and the Spaarndammerbuurt. Both neighbourhoods are developed complementary to each other in terms of functions - living, working, shopping and doing business - by the urban planners. In the past few years, Meester acquired notoriety with her meaningful text images, of which the content gives the spectators food for thought. In and outside the Cargo project space, Benjamin Li and Marieke Zwart were reacting on her one liner with a new work. Nina Glockner and Césare Pietroiusti were showing existing work.

In the projectspace the process of the project will be shown in the form of a stop-motion video, made by Luc Schraauwers (https://www.scenesby.me/).

Je Verdient Het has been made possible with the help of AFK (Amsterdam Fonds voor de Kunst) and Kunstwerk Loods6.

http://www.joannekemeester.com


Public Programme


THE DARK SIDE OF THE MINING INDUSTRY

Film Programme at Vlaams Cultuurhuis de Brakke Grond

Curator: Rosa Spaliviero (Picha, Lubumbashi DRC)
Location: Rode Zaal, Vlaams Cultuurhuis de Brakke Grond, Nes 45, Amsterdam

Sunday 8 December Vlaams Cultuurhuis de Brakke Grond organises a film programme in collaboration with Cargo with films by Sammy Baloji (DRC) and Bodil Furu (NO). In between the two films, curator and film director Rosa Spaliviero will have a conversation with anthropologist Filip De Boeck (KU Leuven) about the themes of both films.

What are the consequences of the extraction of raw materials for the population, environment and economy of Katanga, Africa? Artists Sammy Baloji (DRC) and Bodil Furu (NO) bring in their films Pungulume and Mangeurs de Cuivre to the fore the role of these raw materials and minerals in a long history of civil war and conflict in the Democratic Republic of Congo.

Programme
15:00: Introduction by Vera Bertheux, de Brakke Grond
15:10: Start Pungulume - Sammy Baloji (DRC, 32 min)
15:45: Curator Rosa Spaliviero in conversation with anthropologist Filip de Boeck
16:30: Start Mangeurs de Cuivre - Bodil Furu (NO, 82 min)
(Language: English)


Special Event: LUNÄ Talk

When: Thursday 12 December
Tijd: 15:30 - 18:30 hrs
Waar: Cargo in Context, Haparandadam 7, Houthaven, Amsterdam
Language: English
Admission: Free
Registration: Recommended (via info@cargoincontext.org)

About the LUNÄ Talk
The LUNÄ Talk refers to the legacy of the Lunar Society of Birmingham, UK, which was a group of scientists, entrepreneurs and artists who, with their discussions during the full moon, brought new light to numerous social and technological developments.

Dutch artist Marjolijn Dijkman developed the concept of the LUNÄ Talk in 2011 and has since used a facsimile of the table in different locations across Europe. These LUNÄ Talks always take place during or around the full moon and consist of critical discussions on topics that occupied the Lunar Men, such as new scientific and industrial developments, but can also include art, education and social rights as well.

In this - also moonlit - Amsterdam edition, experts with different scholarly backgrounds will focus on the ecological, social and economic consequences of the extraction and processing of lithium and cobalt. They will look both at the history of electricity and the current use of raw materials from the DRC for electronics and energy storage.

Participants:

- Patricia Fara, historian of science University of Cambridge, UK
- Esther de Haan, Programme Manager & Senior Researcher at The Centre for Research on Multinational Corporations (SOMO), Amsterdam, NL
- Dries Bols, Ceo Lifepwr, Antwerp, BE
- Raf Custers, historian, journalist and author of Grondstoffenjagers, Brussels, BE
- Hosts: Marjolijn Dijkman and Maarten Vanden Eynde



Installation view of Blood Sugar by Patricia Kaersenhout © Aatjan Renders



Jennifer Tosch, Lia Gieling, Giovanni Finisie, Patricia Kaersenhout


About Cargo in Context


Introduction to our website: Cargo's-website is a newspaper alike with images that move every other second to a different item; so scrolling through the site is like a kind of explorative expedition. You should follow the categories indicated above to find your way in the current programme and the archives.

Some facts about Cargo in Context

Cargo in Context is a resumption of Cargo, a non-profit project space that was founded in 2001 on de Realiteit in new-town Almere. After founder Lia Gieling had made quite a detour via Rwanda, since October 2016 Cargo has landed in de Houthaven in Amsterdam. Specifally in de Bonte Zwaan (the Multicoloured Swan), a former ship for the shipper’s exchange, which in the last 10 years has become a vital new area for artists and other creatives to nurture and launch their projects.

De Houthaven in Amsterdam is a typical pioneer’s area, perfectly fitting to the expertise of initiator Lia Gieling with all of her history carrying forth from projects in new towns like Almere (Museum De Paviljoens and Cargo) and in Nieuwegein. In Rwanda she was curator in The National Art Gallery.

Only recently De Houthaven has been reinvented as a residential area; its history as a huge lumber port at the waterfront makes it a very inspiring neighbourhood. Where once ships from all over the world were coming here for trade, gradually a new area has been constructed, where people from all walks of life are able to live on or near the waterfront. Besides De Bonte Zwaan is located at the border of the river Het IJ and the North Sea Channel, which can be seen as a significant metaphor for a site where cargo from all over the world can be easily unloaded.

Presentations and Public Programme

Cargo mostly has site specific projects on display. On a regular basis one or more artists are invited especially who deal with urgent matters in their work. With these projects Cargo aims to contribute to the social debate and the role of art and artists in it. The result will be on display in Cargo for several weeks. At the time a project is on display, Cargo also organizes a public programme, which can vary from a performance, a lecture, a film to an excursion.

Management: Lia Gieling

About founder Lia Gieling

Since 1982 Lia Gieling plays along with the Dutch art world. Her academic background includes theatre sciences (MA) and art history (BA). Beauty certainly is an important condition for the projects she has realised so far, but according to her this is certainly not the quintessence. Cargo's point of departure is determined by research based art projects. During her career Gieling always has stressed on the specific characteristics of the spot she was working for. In former days the site specific projects of De Appel. At Twente University the combination of technics, art and and society seemed a fruitful source for her, while new towns like Almere (and later on Nieuwegein) had her focussed at urbanism, public domain and new nature. Recently the post-conflict- and post-colonial situation in Rwanda has embraced her a lot. In Cargo Gieling aims to converge her expertise on all these fields as much as possible.

Financial aspects

Cargo in Context has an ANBI Status

Annual Account 2016

Annual Account 2017



Boat tour Black Heritage Tours | Public Program Patricia Kaersenhout's Blood Sugar


DEUCE

Friday, April 6, 2018 - Sunday, May 27, 2018


DEUCE by Naro Snackey

Click here to see the trailer of the project Naro Snackey has realized i.c.w. Paulien Oltheten

Because of her bi-cultural background multimedia artist Naro Snackey is fascinated by the personal history of Indonesians of Dutch descent (Indo’s). In DEUCE she explores the double identity of many so-called Indo’s as the result of a past of colonization and migration with which they have never really come to terms. She focuses on their personal stories and their systematic neglect in the canon of Dutch history.

In DEUCE Snackey juxtaposes this individual experience and the dominating ‘national myth’. In her space-filling installation she tries to reconcile the opposites and claims attention for these (mostly suppressed) stories.

During the first public program Basje Boer performed a poetic column, inspired by Snackey's DEUCE. You can read the column here (in Dutch).


DEUCE has been realized with the financial support of the Mondriaan Fund

http://www.narosnackey.com


Annaleen Louwes


Impression of the audience during the conversation Stretching the boundaries of Photography, moderated by Lilet Breddels

Annaleen Louwes (1959) 

Fernweh is a second project for Cargo by Annaleen Louwens. After Dusk in 2016 her latest project has been launched September 21 during UNSEEN-2018. Fernweh stands for the longing for the unknown. Louwes' point of departure was the recent passing away of her father and the questions this raised to her. She explored her internal relationship between the existential darkness and lightness and that of the world around her.

Starting from her fascination with the human condition Louwes mixed old and new work, photograpy and film. By doing so she wanted to create an atmosphere of ambiguity, transience and uncertainty. By both delving her own archives and creating new work Louwes tried to unveil an unexpected reality.

Fernweh was financially supported by the Mondriaan Fonds

http://www.annaleenlouwes.nl

 

 

 

Related:

DUSK


Benjamin Li


Benjamin's handmade 'fortune money': 10000 BL

Different forms of identity, cultural heritage, integration and sense of home are important themes in the work of Benjamin Li. He finds inspiration in everyday life, social media and personal events. Li’s work functions as a mirror, making use of stereotypes and existing misunderstandings.

http://benjaminli.nl/

Related:

Je Verdient Het


Naro Snackey


Naro Snackey

Naro Snackey (Bonn, 1980) studied at St Joosdt Academy in Breda and continued studying with a residency at the Rijksacademie in Amsterdam. The thread in her work  is her own history. She is Indian-Dutch, was born in Germany, but raised in the Netherlands. Her work is about memories and identity and usually comes about in an associative and intuitive way. Although her work is reflective, she does not want to judge. Read this article in Metropolis M.

Snackey lives and works in Amsterdam

 

http://www.narosnackey.com

Related:

DEUCE


Club Cargo


Audience for Nina Glockner's performance during closing time of Fernweh November 4th

As a non-profit space we have founded Club Cargo. For an amount of € 25 a year one can be a supportive member of it. Of course gold card keepers (for more money) are also greatly welcome. Members will get special attention.

One can subscribe by transferring € 25 to Cargo’s bank account NL76TRIO0197956173, stating ‘membership Club Cargo’.

Yeh join the Club by joining over more than 50 other Cargo-members!




Sammy Baloji (DRC), Marjolijn Dijkman (NL), Maarten Vanden Eynde (B), Musasa (DRC), Georges Senga (DRC) en anderen


Lithium (L3) Maarten Vanden Eynde and Musasa

Material matters, Lithium (L3) 2017-1019 Maarten Vanden Eynde & Musasa

Related:

On-Trade-Off; The Weight of Wonders


Une histoire: le miel aux lèvres

Saturday, April 1, 2017 - Sunday, May 21, 2017

Thierry Oussou in conversation with Bart Luirink on April 9th.

Thierry Oussou developed for Cargo a language laboratory, in which he focuses on the authenticity and impact of colonization on a native language and identity. In his lab, he came out with 'evidence' for his assumption that the original meaning of many words and expressions have got lost by it. He used the current transformation of the Houthaven (Lumber port) as a metaphor for this assumption.

Interviews with different people who witnessed this transformation, constitute the foundation for his research. These interviews are included in 4 languages (Fon, French, Dutch and English) in a space-filling artist’s book, that reads like Une histoire: le miel aux lèvres.

Related:

Thierry Oussou



A full boat during a lecture by urbanist Ton Schaap



view on Undermined Natascha Libbert (photography:Matthijs Immink)

http://www.nataschalibbert.nl



Public program Patricia Kaersenhout - Boat trip by Black Heritage Tours


Joanneke Meester, Nina Glockner, Benjamin Li, Césare Pieroiusti and Marieke Zwart

Benjamin Li

Marieke Zwart

Nina Glockner

Je Verdient Het


Joanneke Meester tagging a building for the project Je Verdient Het

Artist Joanneke Meester (1966) may be called a linguistic virtuoso or even literally ‘master of language’. Always drawing on situations or emotions from her own life, she manages to touch upon highly universal and/or actual themes. Over the past ten years she has developed her very own visual language in numerous locations both in and outside in the Netherlands, by using ‘manually applied tape’, which makes her work similar in some ways  to graffiti. Meester’s texts have the same anarchic quality, or at least something bold or ironic, and by crossing the boundaries they implicitly comment on the political or social status quo.

The difference with graffiti is that her work is certainly no street art. Her projects are almost always tied to a specific place or space, to which Meester makes herself subservient.

 

http://www.joannekemeester.com

Related:

Je Verdient Het



Panelists and members of the public continue the discussion about political agency and the role of art and artists in raising awareness, over a hard-earned glass of wine.



Thierry Oussou working on his installation "Une histoire: le miel aux lèvres" at Cargo.



Lecture by Christiaan Fruneaux co-founder of Monnik, studio for futures and fiction



View on Fernweh; image: Aatjan Renders


UNDERMINED

Friday, June 14, 2019 - Saturday, July 27, 2019


News paper Het Parool Thursday June 14th, Opening's eve

Natascha Libbert (1973)

Natascha Libbert studied photography at the Royal Academy of the Arts (KABK). Since 2014 she is a full time visual artist/photographer, alternating free work with commissions. She worked for the ING Collection, the Ministry of Cultural Heritage, Marie-Stella Maris Foundation, various museums and for law firm Kennedy Van der Laan. One of the last commissions she realised was for the Province of Noord-Holland, for whom she pictured the famous locks in the port of IJmuiden, in the process of being replaced. This commission resulted in Libbert’s personal search into the world of shipping which she recorded in her recently published book I went looking for a ship (The Eriskay Connection).

Libbert’s work mostly deals with landscapes which at first glance appear innocent, but in which she delicately traces human presence and behaviour. In Cargo she investigates our attitude towards the earth in the anthropocene.

Libbert lives and works in Amsterdam

www.nataschalibbert.nl

http://www.nataschalibbert.nl



A new destination for the sugar cones


Maroccan woman with one of the remaining sugar cones.

While dismantling the exhibition Blood Sugar, two Moroccan women happened to pass by. They stopped and gazed at us as they saw us discussing what to do with the remaining sugar cones which were an essential part of Patricia Kaersenhout's installation. What a coincidence by making these women of all people happy with the cones as so we had come full circle. During her research into sugar production and trade Patricia found out that the sugar cones as she has used them in Blood Sugar, originally are from Marocco. Since the 17th century they produce and store sugar in such cones. Via Spain and Portugal this traditional way of storing sugar they found their way to the Carribean. The raw sugar brought back to Europe sugar bakeries for centuries sugar bakeries sold them in these cones. As the Maroccan community in Amsterdam still sticks to this tradition it is a very pleasant thought to feast the women with the remaining cones .


Smoke and Mirrors

Friday, November 10, 2017 - Saturday, December 23, 2017


installatie (fotografie:)

With h Smoke and Mirrors, Maurice Bogaert reflected on the sprawling city and the craziness on the housing market. The installation consisted of a so called Pepper’s Ghost, a 19th century analogue invention which creates, by means of light and glass plates, the illusion of an apparition. This space-filling Pepper's Ghost in Cargo, aimed at a total experience and also served as a 'projector' in which reality and megalomanic future visions on the city tumbled over one and another. Together with the public program, Bogaert demonstrated the utopian, fantastic sci-fi thinking about the metropolis.

During the finissage visual artist and art critic Basje Boer performed a column, written by her and inspired by Bogaert’s project. You can read it here in Dutch.

Publiek programma Smoke and Mirrors:

1. Artist talk between Edwin Zwakman and Maurice Bogaert; moderator Lilet Breddels

2. Soundscape city (a sound walk through de Houthaven)

3. Studio for Futures and Fiction

http://www.mauricebogaert.nl

Related:

Maurice Bogaert



Pupils of Bride School Spaarndammerhout with Thierry Oussou, visiting the exhibition and attending the workshop with the artist.


A concise history of the Amsterdam Lumber docks


Installation Delphine Bedel - Like timber in the wood harbour a tree can never be replanted. I will never belong. (photography Ab den Held)

Participating artists of the exhibition A concise history of the Amsterdam Lumber docks

Inez de Brauw (The Hague 1989)

After finishing in 2014 a bachelor Painting at the HKU in Utrecht, Inez de Brauw continued her artistic practice at the Rijksakademie (2016-2017) in Amsterdam. On a regular basis her work is on view in solo and group exhibitions in and outside The Netherlands. In her paintings De Brauw investigates the friction between various times and cultures. She believes that every group, every culture and time has its own oddities and consequently its own values and taboos. Following her free associations she looks for images that belong to each other in terms of time and/or space, which she mixes in her paintings. After interfering with colour and plasticity, she is capable to show the contrasts again.

‘’Standing in front of an Inez de Brauw painting is like having the experience of standing between two mirrors. The interiors that make up the black and white paintings are composed by fragments taken from lifestyle magazines. De Brauw appropriates decorative patterns appearing on wallpaper, pillows and furniture, patterns which by the time they appear in a magazine have lost their historical significance. As such, these paintings become a framework that reflects the continued migration of forms and ideas, from magazines to real life (…)’’ (source: catalogue Rijksakademie 2016)

inezdebrauw.nl


Iede Reckman (Leiden 1981)

Reckman finished his artistic education in 2003 at the Royal Academy for visual arts (KABK) in The Hague. Soon thereafter he co-founded the artist’s initiative Billytown in The Hague. Meanwhile Reckman did a master at the Glasgow School of Art (UK) (2013) and participated in different residency-programs in the US, Czechia, South Korea and at the European Ceramic Work Center (EKWC) in Oisterwijk (NL).

Reckman often works with wood and is interested in the so called science of dendrology. He uses this to compare the birth of a sculpture with a natural phenomenon. He looks at nature as the optimal balance between randomness and calculated influences. In his work Reckman tries to find a comparable balance. Through a repetition of form and action he focuses on processes that implicate the genesis of an artwork. That’s why he is decided that an artist when in the process of realizing a work, it makes sense to stick to the very concept of an idea. In this way mental and physical processes merge.

iedereckman.com

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Koos Buster (Amsterdam 1991)

Koos Buster finished his bachelor in ceramics at the Gerrit Rietveld Academie in Amsterdam in 2018. His final exam attracted a lot of attention. He got a solo show at Galerie Fons Welters in Amsterdam and immediately received an invitation for a residency at De Bijenkorf department.

On the one hand Buster’s ceramics are indebted to the typical Dutch tradition of small wall tiles with a one-liner text, like ‘East West Home is Best’, et cetera. But on the other hand Buster interferes in this tradition by designing his ceramics with a kind of irony by ‘posting’ contemporary texts on his objects.  ''My work portrays the search for a certain “doltish perfection” or something trivial that could also be celebrated. When I have an idea, I start sketching. Those sketches are a first step into the process, but I also like to see them as potential finished works, fully established within the sketch phase. The innocence and messiness of a quick sketch has elements I like to see returned in a final piece of work (…)’’. (source Mr Motley 2018)

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Delphine Bedel

Delphine Bedel is an artist, editor, curator and lecturer. She is founder of Meta/Books, a publishing and research platform for emerging photographers and designers. Principal topics of interest are media, technology, feminism and the global circulation of images. Known for her cutting-edge publications and feminist education projects, Bedel works with leading cultural institutions, photography festivals and art and design academies. Her work is exhibited internationally. She is a frequent speaker in international conferences and seminars, including Centre Pompidou, Paris; Stedelijk Museum Amsterdam; Chelsea College of Art and Design London; etc. Bedel is currently Member of the Advisory Board of the Mondriaan Fonds and the German Photography Academy. In addition, she is a PhD researcher at the University for the Creative Arts (UK). Bedel contributes to books and magazines. Her work is featured in the British Journal of Photography, Aperture Photobook Review, Eikon Magazine, ID-Pure, Tagesspiegel, Filter magazine, Metropolis M, etc.

See for more information about Delphine Bedel and her work: delphinebedel.com.

An interview with Joyce Poot is to be published on this site later this month.

http://www.art.amsterdam.com

Related:

A Concise History of the Amsterdam Lumber Docks


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Introduction by Neske Beks at the opening of Blood Sugar



A day of reflection in Cargo about development of theories by and for teachers of Gerrit Rietveld Academie.



Pjotr Muller: Una giornata particulare, installation in and outside Cargo (1), de Realiteit in Almere 2004


Rearrangement of Priorities #2

Friday, March 8, 2019 - Saturday, March 23, 2019


Image: Rearrangement of Priorities #2

A Rainbow Soulclub cocktail of politics, painting, poetry and coconuts.
The Rainbow Soulclub is a collective of individuals, that operates from the Blaka Watra walk-in centre of the Regenboog Groep, an Amsterdam-based organization that is committed to helping the homeless and drug addicts. The Rainbow Soulclub was founded in 2005 by visual artists Saskia Janssen and George Korsmit, who with the Rainbow Soulclub orchestrate weekly encounters and collaborations between artists, art students and Blaka Watra’s clients. Over the last 14 years these encounters have spawned a whole diversity of activities: painting, writing, publishing, drawing, pottery, recording music, making costumes, launching campaigns, staging exhibitions, and even travelling to Ghana and Suriname.

Under the title Rearrangement of Priorities #2, the Rainbow Soulclub is serving up in Cargo its latest cocktail of politics, painting, poetry and coconuts for you.

www.rainbowsoulclub.com

www.instagram.com/rainbowsoulclub

Related:

Rainbow Soulclub




DUSK by Annaleen Louwes

Wednesday, February 1, 2017 - Sunday, March 19, 2017


DUSK © Annaleen Louwes 2017


Those who are already familiar with the work of Annaleen Louwes will associate her with probing portraits of vulnerable people: psychiatric patients, prisoners or just people she has come across. Louwes’ patient eye highlights their extreme vulnerability with their inner beauty. Without any personal judgement she therefore invests them with self-esteem and emphasises the human condition implicitly in her work.

Without forsaking her customary patience and preciseness, Louwes showed in Cargo a surprising cinematic triptych, that can be seen as an exciting new direction for her body of work. To be better versed in the phenomenon of cinematography, Louwes asked a professional cinematographer Josje van Erkel to work with her on DUSK and so experienced the difference of working with moving images as opposed to still ones.

Louwes saw the ephemeral character of De Houthaven as a metaphor for DUSK. The newly reclaimed land looks like a desert with its horizon split by a multiplicity of cranes. The first building had been finished and the new occupants moved into their brandnew condominiums. The port also was a hive of activity: ships loaded and unloaded their goods and then silently sailed off the next day to a new destination.

Louwes observed and registered all these movements, but also revealed a hidden world invisible to the ordinary spectator. She used De Houthaven as the stage for composing her atmospheric triptych, that leads to a sequence of images in which for the first time she experiments with the elapsing of time.

Public programme around Dusk:
1. Merel Bem – On Doorkijken/ A Closer Look at Photography
2. Zef Hemel – Plea for Amsterdam as a metropolis
3. De Gebouwengids – A walking tour through De Houthaven

Film Crew: Director: Annaleen Louwes; Cinematography: Josje van Erkel; NSC Sound: Arthur Wagenaar

http://www.annaleenlouwes.nl

Related:

Annaleen Louwes

Related:

FERNWEH



Hicham Khalidi (director Jan van Eyck Academie) during the opening of 'On-Trade-Off; The Weight of Wonders'

Live column on the occasion of the opening of On-Trade-Off; The Weight of Wonders
By Hicham Khalidi (director Jan van Eyck Academie), 15 November 2019

I was interested in a sentence that I read in the briefing of this project, which was that knowledge of extracted goods being used in computers and smartphones did not make it back to its point of departure. Meaning that the people who extracted the lithium that much of this show is about, might not know about the use of this material and that they subsequently do not benefit from it. This hits the nail on its head. It is exactly the obfuscation of knowledge that renders this inequality. And not only the miners being disconnected from this knowledge, but the lack of knowledge in general. The ones who are in some cases entitled to cast a vote, and certainly this is not the miners but us, do not know enough to make the right decisions, are being led away from the right information or simply are misinformed? One could talk of broken systems, but the problem is, how do we know if a system is broken if we cannot see clearly the relationships that make the system? How can we relate the livelihood of the miner in Manono to a user of a mobile phone or a computer? A system consists of elements that have dependency of which the dependency must be known. A set of a priori requirements are necessary to know whether we have a good system or a bad system. Information is key. Not only information from part to part, but also information about how to look at it. We need a top view.

This exhibition attempts to give you some of that and much is left by the artists in this show for further discussions around the world with people on the ground in order to get a better view on how things work. From the Australian mines to Chinese manufacturing and back to the pickaxe of Africa, and indeed the pickaxe looks like the logo of a Tesla car as beautifully stated in one of the works in the show. It is an image of its implication.

It is these interdependencies and relationships between for instance desire, energy use, resource extraction and inequality and how information and awareness play a role that is beautifully laid out in this exhibition. If any, this exhibition attempts to scrutinize these relationships to foster an awareness of the self and our environment and perhaps with this we are seeking what kind of systems or world we would like to live in and if these systems work at all.

This is what we need, we need to offer people insight into these complexities. And next to this, we must consider our role as artists as well. As the writer, Amitav Gosh explains: “Culture generates desires — for vehicles and appliances, for certain kind of gardens and dwellings— that are among the principal drivers of the carbon economy”. How do we as artists relate to our position in the circulation of desire, energy and extraction for instance? What is our exit from a carbon-based economy?

And back to the miner, it would be so easy to close the loop between the one who carries the pickaxe, the surplus created by it and the flowing back of this surplus to the source of its making? It could be so simple, we are all co-owners of this world, but it is all the harder because we need to define what the top view of all of this is and how to own it together.



Overview of installations in A concise history of the Amsterdam lumber docks. Photography: Ab den Held


Rainbow Soulclub

Related:

Rearrangement of Priorities #2



with Nan van Houte, Gerco Ruijter, Reyn van der Lugt, Taco Hidde Bakker, Nick Huls, Frank van der Stok, Petra Noordkamp and about 40 other listeners.


Guest programming

Friday, May 10, 2019 - Saturday, June 8, 2019


Maurice Bogaert


Maurice Bogaert (Heerlen 1975)

Bogaert studied at the Academy of Fine Arts in Maastricht and got his master at the Piet Zwart Institute in Rotterdam in 2001. In recent years Bogaert has developed a body of works in which he included media like architecture, film, texts and fine arts. This mostly resulted in a kind of total experience for the audience. His works vary from extremely monumental walk through installations to most tiny scale models. All his works are efforts to translate camera movements and editing into the physical space.

Lives and works in Amsterdam.

http://www.mauricebogaert.nl

Related:

Smoke and Mirrors


Patricia Kaersenhout


© Aatjan Renders

Patricia Kaersenhout (1966)

Visual artist/cultural activist/womanist

Born in The Netherlands out of Surinamese parents, Patricia Kaersenhout since many years embarked on an artistic journey, in which she researches the impact and consequences of the invisibility of the African diaspora and (post)colonialism in relation to her education in a West-European culture. In her work she questions the political changes within the current African diaspora in relationship to feminism, gender, racism and the history of slavery.

Patricia Kaersenhout has exhibitions both in The Netherlands and abroad. She lectures on a regular base about her work in relation to de-colonial theory and she has been appointed at the de-colonial summer school in Middelburg. At the Willem de Kooning Academy in Rotterdam she has taught Global Arts and Social Practice. She now supervises students with their final exams at the HKU in Utrecht. Since 2014 she is adviser of the Mondriaan Fund.

Kaersenhout lives and works in Amsterdam

http://www.pkaersenhout.com

Related:

Blood Sugar


Editions

Cargo asks artists who develop their projects to create a work of art in a limited edition. Such offers a unique opportunity to be the owner of a piece of art for an affordable price. Both the artist and Cargo work on non profit lines. With a purchase, you support all parties, including yourself.

Annaleen Louwes


© Annaleen Louwes

of DUSK (2017) by Annaleen Louwes stills are still available on demand in various measurements;

of Fernweh (2018) by Annaleen Louwes an edition of 10 there

Patricia Kaersenhout


© Patricia Kaersenhout

On the occasion of her project Blood Sugar Patricia Kaersenhout made this riso-print in an edition of 20 copies. This is a still from the documentary Amsterdam, Traces of Sugar (2017) by Ida Does (camera: Jurgen Lisse; editing: Cam Does). Price = € 125, = wihout and with frame € 175, = excl. 6 % VAT

Maurice Bogaert


© Maurice Bogaert

On the occasion of his project Smoke and Mirrors Maurice Bogaert made this print, called Repoussoir [2017], in an edition of 15 copies. Price: € 125 incl. frame excl. 6 % VAT.

Naro Snackey


© Naro Snackey

On the occasion of her project DEUCE, Naro Snackey made this print.

Titel: Ancestor portrait and ceremonial crown
Medium: Digital print on aquarel
Size: 210 bij 297 mm (A4)
Edition: 8
Price: € 120 incl. lijst excl. 6 % BTW.

Joanneke Meester


© Joanneke Meester

On the occasion of her project Je Verdient Het, Joanneke Meester made this print and 7 other unique prints.

Je Verdient Het
Unique print A4
210 x 297 mm (A4)
Edition 8
€ 125 incl. frame excl. 6 % VAT.

Marieke Zwart


© Marieke Zwart

On the occasion Je Verdient Het Joanneke Meester made this print.

Scenes from the Kletskop
Unieke print A4
Oplage 6
€ 120 excl. frame: € 20 excl. 6 % VAT.

Benjamin Li


© Benjamin Li

On the occasion of Je Verdient Het Benjamin Li made this flag. It comes together with a note of his handmade "luck-money".

I Won
Flag, nylon 50 x 70 cm
Edition 10
€ 30 excl. 6 % VAT.

Zone Interdite edition within the frame of Balta's project Lost Paradise; Hand-embroidery in box; Price € 75 incl VAT


Zone Interdite edition within the frame of Balta's project Lost Paradise; Hand-embroidery in box; Price € 75 incl VAT

Undermined


Fragments from Gunthers's Pond and Mar de Plastico

Natascha Libbert's editie voor Cargo; oplage 8; prijs € 180 inclusief BTW


Iede Reckman - Storied Carbon - edition 5 (sold out)


On-Trade-Off; The Weight of Wonders

Friday, November 15, 2019 - Saturday, December 21, 2019


Detail of cassiterite (tin) and tantalum (coltan) mine in Manono, D.R. Congo; image: Maarten Vanden Eynde

On-Trade-Off; The Weight of Wonders

With: Sammy Baloji, Marjolijn Dijkman, Maarten Vanden Eynde, Musasa, Jean Katambayi, Georges Senga and Daddy Tshikaya

On-Trade-Off is a long-term artistic research project by an international group of artists, filmmakers and researchers, that want to bring attention to the ecological and economic implications of the extraction and processing of lithium, the most important natural resource for the world- wide production of ‘green’ energy. In the West, lithium is presented as a major step in the production of a green economy, while the burdens for the local population, where lithium is extracted, are neglected.

On-Trade-Off follows the trace of lithium from its origin, namely the mining town Manono in the Democratic Republic of Congo (DRC), where the largest lithium ore supply in the world has been discovered. Lithium has been named ‘the new black gold’. A diverse group of artists follows the international trade route via Australia and China to Europe.

By using one chemical element – Li3 – On-Trade-Off zooms in on the social, ecological, economical and political aspects that are present in almost all production processes since the triangular trade in the 16th century. Think of the inhuman labour during the extraction,
the economical inequality to sustain economical growth by all costs and the ignorant end users that are not aware of what will happen to the purchased goods. By exposing the full supply chain of lithium, the (seemingly independent) elements that sustain this recurring imbalance, are connected and made visible.

From Manono (DRC) the journey continues to Australia, where the Tesla Energy Storage System is, currently the largest battery in the world and then to China, the largest producer of lithium batteries that are massively exported to the West. Speculatively, the route ends in Africa, where a lot of electronic waste is dumped and is therefor returned to its origin, completing the triangular trade.

On-Trade-Off is developed in several spaces, in diverse forms and contexts, where each presentation or spin-off focuses on different elements of the larger story. Collaboration and exchangeis created everywhere with an abundance of people and organisations with diverse backgrounds, such as visual artists, curators, local communities, NGOs, filmmakers, thinkers, activists, computer engineers and designers.

The project exists of a series of new individually and collectively made art works. These are developed during three years and are the result of collectively acquired knowledge and gathered research material around the subject. Each of the participants approaches On-Trade-Off from their own artistic interest and media and the collected research material will be made available to all participants as open source. This introduces a more sustainable form of (art)production.

Cargo in Context & Flemish Cuture Center de Brakke Grond

Cargo and De Brakke Grond have combined their strengths for a first presentation in the Netherlands of this extensive project. Previous stages of this project were presented at Contour Biennal Mechelen (BE), Galerie Imane Farès (FR) and the current Lubumbashi Biennale (DRC).

The project has been made possible by various sponsors and the Thami Mnyele Foundation.


Annaleen Louwes

Friday, September 21, 2018 - Sunday, November 4, 2018


Overview Fernweh - # photography: Aatjan Renders

In 2018 Cargo has been invited to be part of the City Program of UNSEEN, for which we invited Dutch photographer Annaleen Louwes to develop a new project. With FERNWEH Louwes explored the human condition by mixing up both old and new work, photography and film. With this mixture she tried to create an atmosphere of mortality, ambiguity and temporality. By doing this Louwes tended to discover an unexpected relationship between the old and the new.

During the launching September 14th film critic and novelist Basje Boer performed her third live column for Cargo, inspired by Louwes' latest project. You can read the column here (in Dutch).

And: https://www.hannehagenaars.nl/blog/annaleen.louwes-fernweh

The realisation of Fernweh is financially supported by the Dutch Mondriaan Fonds

http://www.annaleenlouwes.nl

Related:

Annaleen Louwes