Page Not Found is a non-profit space based in the Hague, whose aim is to promote publishing as artistic practice, and to make artists’ publications and related writings accessible to a wider audience.
Our space combines a bookstore and a cultural platform for artists’ talks, performances, lectures and workshops. The bookstore is specialized in artist-made publications and printed matter. The design of its interior has been commissioned to artists Helgi Þórsson and Ola Vasiljeva.
The cultural platform produces a program of public events which focuses on introducing contemporary and independent publishing practices to the public. The platform invites artists, designers and writers to reflect on and share their publishing practice. To be updated about the current program, sign up to our newsletter or follow us on social media.
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Page Not Found welcomes submissions of artists' publications to add to our catalogue. Send us an email to this address, or come by during opening times to leave us a copy. It usually takes a month for our dedicated group to meet and review the current submissions. Please note that Page Not Found will only consider projects which are already published, and rarely takes print-on-demand publications.
Our events are public and free.
Due to the current pandemic however, you need a ticket to attend.
To get one, it's easy: click on an event and follow the link.
Page Not Found and The Reading Room are delighted to invite you to participate in our new program. The Reading Room is a series of reading sessions revolving around short texts provided by invited guests — contemporary researchers, cultural theorists, philosophers and artists — who join us to provide insight and context to the topics at hand. The Reading Room is curated by Sissel Marie Tonn, Jonathan Reus and Flora Reznik.
For this 36th session, Rebekka Kiesewetter joins The Reading Room in an effort to navigate Hamid Dabashi’s text “Can Europeans Read?” (2015). We will understand reading as an interventionist, performative and collaborative way of engaging with a text. We will look at the questions Dabashi raises, consider his ideas around the urgency of thinking “beyond postcoloniality”, and his claim that Europeans will indeed be unable to read anything besides themselves until they “join the rest of humanity in their common quest for a level remapping of the world”. The ability to read will become a form of political engagement.
Taking Dabashi’s text as a point of departure we will enact Johanna Drucker’s concept of “performative materiality” that considers reading as a “constitutive act (...) that makes the text”. Through our engagement - that takes the form of a workshop - the text will lose its status as a fixed, static and authoritative entity, and become open(-ended), inherently relational, multi-temporal, and generative. Along with Fred Moten and Stefano Harney we treat text as a social space: “To say that [text is] a social space is to say that stuff is going on: people, things, are meeting there and interacting, rubbing of one another, brushing against one another – and you enter into that social space, to try to be part of it”.
Rebekka Kiesewetter studied art history, economics and modern history at the University of Zurich). She worked as a writer, editor and curator. She has been a Visiting Professor and Guest Lecturer at the FHNW Academy of Art and Design, Basel, the University of the Arts Bern, and the Political Arts Experimentation Program (SPEAP) at Sciences Po (FR), among other institutions. Also, she is a founding member of DA Institut, a member and former co-director of Depot Basel. Currently she is a writing and thesis tutor at the Sandberg Academy Amsterdam and is doing her PhD at the Centre for Postdigital Cultures, Coventry University (UK). Her work evolves on the intersections of experimental publishing, art, design, and the humanities. Her research interests are radical Open Access publishing, experimental publishing, the material, relational and performative dimension of publishing and publications, the philosophical and political dimensions of openness and accessibility, and feminist and intersectional critiques of knowledge production.
Note from the curators
Seating for this event is limited. Please reserve a spot by booking a free ticket below. We will provide you with a copy of the texts once your ticket is booked. As this is a discussion, you are expected to have read the provided texts before attending. Due to the current pandemic situation, we ask you to bring your own snacks and observe physical distance. We will provide masks. After the event, you are welcome to stay around for an informal chat/drink with us.
We're excited to invite you to Koen Taselaar’s first solo show in The Hague. “Opinionated Aquarium” illustrates the diversity and width of Taselaar’s practice, which playfully embraces tapestry, sculpture, illustration and printed matter.
Page Not Found got first acquainted with Taselaar’s work through his publications "Dyslectic Melody" and "Myslectic Delody". These risograph-printed editions combine fluorescent colors and kaleidoscopic arrangements of Taselaar’s drawings. These publications emerged during Taselaar’s stay in Seoul and were inspired by the artist’s inability to read and process the Hangul script. The artist translated these illegible characters into delightfully absurd scenes in the chaos of detailed line-work and abstract elements.
His publishing work equally functions as a co-actor and continuation to his ceramics, drawing or other visual output. His ideas seem to flow effortlessly into various forms and materials. Sometimes, they are literally woven into complex compositions, as in the case of his recent immersion into tapestry making. Page Not Found is delighted to invite you to discover Koen Taselaar’s playful visual cosmos.
Koen Taselaar (Rotterdam, 1986) graduated from the Willem de Kooning Academy. His work has been recently exhibited in Centraal Museum Utrecht, and Museum Boymans van Beuningen in Rotterdam. He has been nominated for the Volkskrant Beeldende Kunst Prijs (2015) as well as the NN-Award (2020). He is currently working on a commission for the Hermitage (Saint Petersburg, Russia).
The exhibition opens on Friday 11 at 18:00 and will close on Sunday 27 at 18:00. To make sure our visitors stay safe, booking a ticket is required to visit this exhibition. Tickets are for free. To get yours, please follow the link below, and select a date and a time slot. Thank you!
At the occasion of The Hague Contemporary Art Weekend, Koen Taselaar gives a talk introducing his practice and presents his latest publication, made in collaboration with students of the University of the Arts, Utrecht.
Koen Taselaar (Rotterdam, 1986) graduated from the Willem de Kooning Academy. His work has been recently exhibited in Centraal Museum Utrecht, and Museum Boymans van Beuningen in Rotterdam. He has been nominated for the Volkskrant Beeldende Kunst Prijs (2015) as well as the NN-Award (2020). His solo show at Page Not Found runs until September 27. He is currently working on a commission for the Hermitage (Saint Petersburg, Russia).
Due to the current distancing measures, attendance is limited. Visitors are required to book a ticket.Get your free ticketStarts at 19:00.
This exhibition will mark the seventh edition of the long-term collaboration between the Master Artistic Research (MAR) of the Royal Academy of Art The Hague and 1646. We are happy to collaborate for the second year with 1646, to help celebrate the diversity of independent practices that the MAR nurtures in its students. The participating artists are: Mazen Alashkar, Esther Arribas Rovira, Leonie Brandner, Georgie Brinkman, Serene Hui, Lena Longefay, Juliana Martinez Hernandez, Daphne Monastirioti, Leos and Giath Taha. This year, 1646 is also collaborating with Ruimtevaart, to propose an exhibition located in three different locations. Our project space on Boekhorststraat 128 will host the presentation of Serene Hui.
The exhibition opens on Friday 19 at 18:00 and will close on Sunday 21 at 19:00. To make sure our visitors stay safe, booking a ticket is required to visit this exhibition. Tickets are for free. To get yours, please follow the link below, and select a date and a time slot. Thank you!
Page Not Found is happy to invite you to a performative reading by artist Ariane Toussaint of her latest book “Chapter 2 – Claudine”. The performance will take place at 20:00, 21:00 and 22:00, in a decor created by the artist, including photographs and source material from the book.
Ariane Toussaint (b. 1996, France) is an artist based in The Netherlands. She works with textual and visual narratives rooted in personal stories. Her artistic practice is an investigation of the links between the word, image and materiality of objects aiming to render the power of fiction of rearranging one’s own narrative.
In the first half of 2020, Page Not Found's program focuses on tangible photography. The dematerialization of the image created for some artists with a photographic practice a desire for tangibility, that is: for a materiality accessible by touch. Publishing appears in this context as a natural strategy to answer this desire and to reinstate the photographic image in its materiality. This program presents a large selection of publishing practices to show the diversity of their approaches.
“Chapter 2 – Claudine” is a story about family, love and loneliness narrated through a visual investigation of the hoarding disorder of Toussaint’s great-aunt Claudine. The book is built as a theater play, guiding the reader through layers of personal testimonies and history. Photographs and words weave the great tapestry of time in which the artist reconnects to forgotten paths, suppressed traumas and intimacy.
We're delighted to invite you to a reading by Dena Yago of Fade the Lure, her latest publication.
Fade the Lure is a collection of poems and photographs created between 2014 and 2017, during Dena Yago’s experience working and living alongside emotional support dogs in Los Angeles. In Yago’s words, poetry is sometimes “a form of communication created out of the desire to avoid, and an inability to engage in other forms of direct communication” with animals or humans. Fade the Lure explores the possibility for the poem to account for relationships that materialize and live beyond words, while being embedded in a consumerist society’s confined structures.
Dena Yago (born 1988, lives and works in NYC) is an artist, a writer and a poet. She was one of the founding members of K-HOLE, a trend forecasting group active from 2010 to 2016. Recent publications include Ambergris (Bodega) and Esprit Reprise (Pork Salad Press). Her work has been exhibited worldwide, including at the Museum of Modern Art in Warsaw and at Bodega in New York.
In addition to our focus on tangible photography, Page Not Found organises in 2020 a new series of events entitled "New Territories in Publishing", which aims at documenting the practices of artists, designers and makers who investigate publishing in itself.
Amy Wu and Clara Balaguer perform two publications that use transcription as a mode of generative documentation, enacting a theater that reveals the power of the secretariat. Ever since reading and writing were deemed permissible activities for women, menial secretarial tasks such as transcription, stenography (or shorthand dictation), and non-literary translation have largely been relegated to the realm of the feminine. This female secretariat has been considered lacking in agency, automatons faithfully reproducing the words of others. In this event, the publishers posit a different scenario: that of the secretariat having ultimate and final say in the shaping of narratives through (in)significant (in)fidelity to the source. For one night only, Amy Wu, Clara Balaguer, and an ensemble cast of friends perform two plays, or books, or transcriptions, or essays.
Play one The Choice of a Translator (Wu). A transcript reveals how an interpreter reshapes and depoliticises content, positioning the act of translation as a tool for censorship and steganography—the practice of hiding information in plain sight. The work is documentation of a live case of evasion tactics enacted during a talk about evasion tactics.
Play two Publishing as Bloodletting (Balaguer). Transcripts of social media conversations between friends reveal the informal genealogy of an essay on circulatory tactics in developing world megacities, circulatory ennui in European art schools, the circulation of knowledge from its vernacular producers to its institutional managers. With deceptively casual with LOLs and OMGs, an extended simile emerges on research content as a bodily humor, as blood in the body public.
Clara Balaguer is a cultural worker interested in the decolonization of cultural production most especially through the lens of contemporary vernacular. She founded The Office of Culture and Design in 2010, a platform through which she articulated research, residencies, and social practice projects in the Philippines. She explores collaborative authorship through the clandestine publishing of Hardworking Goodlooking, a cottage-industry fuelled imprint she co-founded in 2013. She has lectured at Walker Art Center, Harvard GSD, MIT, Strelka Moscow, MoMA PS1, Triple Canopy, Hanyang University Seoul, and University of the Philippines. Her work has been exhibited and performed at Asia Culture Center, Singapore Art Museum, Art Dubai, Hangar Barcelona, and La Capella.
Amy Wu Amy Suo Wu was born in China, grew up in Australia, and lives in The Netherlands as an artist and teacher. Wu has co-organised the annual zine festival Zine Camp in Rotterdam. She holds a Masters in Media Design and Communication from Piet Zwart Institute, Rotterdam. From 2013-2016, she co-ran Eyesberg, a graphic design studio motivated by conceptual and experimental approaches. She was awarded the Grant programme for Talent Development from Creative Industries Fund NL, as well as two studio residences at I: project space in Beijing and ZKU in Berlin. Recent solo and group exhibitions have been held at Artspace Ideas Platform, Sydney; Drugo More, Croatia; Aksioma – Institute for Contemporary Art, Ljubljana; Seoul Mediacity Biennale; Espace Multimédia Gantner, France; and I: project space Beijing. She is currently a tutor and graduation supervisor at Experimental Publishing at Piet Zwart Institute and practice teacher in Cultural Diversity at Willem de Kooning Academy, Rotterdam. She published 'A Cookbook of Invisible Writing' through Onomatopee.
In the first half of 2020, our program will focus on tangible photography. The dematerialization of the image created for some artists with a photographic practice a desire for tangibility, that is: for a materiality accessible by touch. Publishing appears in this context as a natural strategy to answer this desire and to reinstate the photographic image in its materiality. This program presents a large selection of publishing practices to show the diversity of their approaches.
To start our program, we invite you to discover the work of Daniel Walton via a talk about their photographic artistic practice and a display of their work on paper in our new project space.
Daniel Walton allows us into the world they are apart of. This event is a celebration and a home to the bodies that live in the identity of queerness and difference. You are invited to engage with the represented bodies of strength and power, the doors are open for all to take a visitation of the underground world that exudes resistance and flamboyancy.
Photographer Daniel Waltonn aka Flamboya Dior represents the queer and trans worlds of The Netherlands and South Africa, their home country. They work with subjects who embody tenderness and power, mirroring their personal experiences in life.
We're honoured to host celebrated artist Juliette Blightman for a lecture-performance, at the occasion of our second anniversary. "The Year of the Rat" follows "The Year of the Pig" (Kölnischen Kunstverein, 2018), "The Year of the Cock" (UDK Berlin, 2017) and "The Year of the Monkey" (ArtCenter, Los Angeles, 2017). Blightman's on-going PhD at the Royal College of Arts (London) is a practice-based investigation into the boundaries of domestic space, creative production, and gender. Her thesis aims to cohere as an autobiographical account of her experience, read in parts during her performative lectures, which incorporate other artists' works and films, along with her own.
Juliette Blightman (b. 1980, UK) lives and works in Berlin. She studied at Central Saint Martins and Byam Shaw School of Art. Working with various media and forms her films, drawings, performances, installations and texts draw an exploration on the ordinariness of everyday life and its ritualised dimensions, the notions of radical subjectivity and the personal and public spheres of life. Her work evokes moments of shared intimacy between friends and reminds the viewer that art and everyday life always happen alongside each other.
Blightman’s solo exhibitions include Femme Maison, Felix Gaudlitz, Vienna, Austria (2019), ReLAtions, O-TOWN HOUSE, Los Angeles, USA (2018) Extimacy, Kunsthalle Bern (2016); Portraits and Repetition, South London Gallery (2015-16); Juliette Blightman / Ellie Epp, Badischer Kunstverein, Karlsruhe (2015); Come inside, Bitte, Eden Eden, Berlin (2015); Eden Eden Eden, Karma International LA, USA among others. Juliette Blightman is represented by Galerie Isabella Bortolozzi (Berlin) and Fons Welters Gallery (Amsterdam).
Blightman's book “Scripts, Descriptions and Essays”, published by Koenig Books in 2018, is "a fragile inventory, using lists, prose and a few pasted-in images of the artist’s performances and exhibitions in Basel, Berlin, London, New York, Vienna, etc. It’s a chronicle of an artist’s life told through a decade of transit, and the friends, relationships and experiences along the way." (Pablo Larios, Frieze Magazine, 24 December 2019)
We thank Julia Mullié for suggesting this event.
We're delighted to invite you to celebrate Page Not Found's second birthday, on Saturday, 1 February. Since our foundation was created, two years ago, we organized almost 50 talks, readings, screenings, book launches, workshops... all aiming to bring artists' publications to a wider audience. We received an incredible amount of interest, enthusiasm and support, and feel very grateful to our audiences!
You're very much welcome to join us for drinks and music, from 17:00. This will be the time to look back and to look forward, as we will inaugurate our new project space — doubling the size of Page Not Found, for more publications, events and workshops in 2020. And our new website will be launched!
Page Not Found is delighted to start 2020 with an evening of poetry and sound art by Ships to Nowhere.
Maria Barnas (poet and visual artist) and Nathalie Bruys (sound composer and visual artist) have been working together on and off since Max A Max B in 2001. Only recently they have finally come up with a name for themselves: Ships to Nowhere and are still doubting if this is the right one.
At Page Not Found Barnas and Bruys will present a selection of their wide range of works, ranging from Max A Max B, about leading double lives, to The Lost Park, about an actual park that turned into fiction, and Song for Three Rooms, about… ?
Barnas and Bruys will expand on the works and share their ideas and insights which will probably change as they speak. If anything can be said about their work, it is that it provides variations on the truth. Questions may be asked; answers can not be guaranteed.
A live performance of their most recent work Sound Shine Files, a conversation between two future robots who chance upon a leftover clump of human civilisation, will most probably complement the evening.
We're happy to host taiwanese art collective Walking Grass Agriculture. Founders Hsing yu LIU and Han sheng CHEN invite you to reflect on Dutch colonialism in Taiwan, via a one-day exhibition, an artist talk and a print workshop in our space.
Fruit farming was an important pillar of Taiwan's economical development. The proceeds of exporting from the so-called “Land of Banana” or “Land of Pineapple” sustained local industries. Yet many kinds of “Taiwanese fruit” are exotic species rather than indigenous species. From 1624 until 1662, the Dutch authority (VOC) occupied Taiwan and started the earliest archiving of Taiwanese plants. According to “De Dagregisters Van Het Kasteel Zeelandia, Taiwan, 1629-1662,” the fruits imported during the Dutch colonial period to Taiwan included wax apple, mango, guava, sweetsop and tomato. The concept of Vanitas, from Dutch art of the 16th and 17th centuries, will be discussed during the talk. The printmaking workshop will invite participants to create “Taiwanese Vanitas”, thereby cannibalizing the Vanitas and questioning the notion of exotism.
About Walking Grass Agriculture: “Flourish a state through agriculture, intervene art through agriculture” is the method and objective of walking grass studio. Our members have a family background in agriculture and a profound passion for art. We use the term agriculture not just for its technical implications, instead we explore the possibilities of art via the values we have inherited from our families. Agriculture is a balance between nature and culture, not unlike art, it responses to seasons; the heavens and the earth underneath it; time and space; the rhythm of life. All of these are phenomenons art can act upon. Our studio operates in the following ways: 1. curation — From planting to sowing, produces go through a cumbersome and laborious process. Curating an exhibition requires the same effort, our studio orients to planning and executing exhibitions to establish a unique style. 2. creation — Contemporary artist cannot isolate themselves from environmental issues, food safety crisis, and labor rights. Aside from producing images and installations we will mobilize research based projects, through field investigations and interviews we strive to uncover extensive document archives. 3. promotion — In art school we’ve discovered a network of young artists with backgrounds in agriculture, we wish to connect them and others interested in our agenda, to turn projects into movements. Through this we may bring art out of the white box and into warm sunlight and land, affecting not just “viewers”, but everyone involved, turning it into a way of life.
Page Not Found celebrates the year ending with a very special evening. From artist Daisy Madden-Wells: “'Of all the art forms, poetry is the most economical. It is the one which is the most secret, which requires the least physical labor, the least material, and the one which can be done between shifts, in the hospital pantry, on the subway, and on scraps of surplus paper.' (Audre Lorde) Marie Antoinette, fatally misinformed, truly believed that cake was not a luxury. Just, that the peasants preferred bread, and its lack there-of was causing the revolts — picture her confusion at their reluctance to manger the abundant brioche she imagined! (allegedly) In the utterly incongruous comparison of these instances, let us enjoy the entirely appropriate marriage of their subjects. Let us be poets and let us eat cake! Proposing a totally non-hierarchical poetry reading night — from a haiku you dreamt in the shower, to your favourite song lyrics, to Homer, Angelou or Cooper-Clarke, to the love letter you never sent — it is all welcomed, all desired. Additionally, no discrimination or snobbery will be exhibited whether you bring home-baked goods or an Albert Heijny special."
We are very happy to invite you to a talk by artist Femmy Otten. Her practice often refers to the verse of Emily Dickinson, and its peculiar alliance of breathless immediacy and burdening solitude. She will guide us that evening through the poetic dimensions of her sculptural and performative works.
Femmy Otten studied at HISK in Gent and was a resident artist at the Rijksakademie in Amsterdam and Atelier Holsboer in Paris. In 2012 Otten was awarded de Volkskrant Beeldende Kunstprijs. In 2014 she was selected for the official portrait of King Willem-Alexander. Recently her work was on view in the following exhibitions: Wistfull Eye, Drents Museum, ‘The restless gods’, performance at Predikherenkerk and Museum M, Leuven, ‘Days Undressed’, Galerie Fons Welters, Amsterdam; ‘De Volkskrant Beeldende Kunstprijs’, Stedelijk Museum Schiedam, ‘Yellow Minutes, Where time has lost its relevance’ in P///akt, Amsterdam; Koninklijke Schilderprijs, Paleis op de Dam, Amsterdam; Museum Tot Zover, Amsterdam; ‘Return on Invest’, Stroom Den Haag; ‘Hydrarchy: Power and Resistance at Sea’, Gasworks London. In 2016, her monograph Slow Down Love was published by Nai 010 publishers. She is represented by Fons Welters in Amsterdam.
Please note that the talk will be held in Dutch.
We thank Julia Mullié for suggesting this event.
Poetry is the birthplace of the modern artist's book. With its upcoming program, Page Not Found pays tribute to the interplay between visual arts, poetry and publishing by inviting poets and artists to share their work alike. This evening, organised in collaboration with KABK Master Artistic Research, will see acclaimed poet Lisa Robertson read from her prolific oeuvre. Robertson’s poetry is known for its subversive engagement with the classical traditions of Western poetry and philosophy, combining avant-garde techniques with classical poetic concerns and traditional literary touchstones while eschewing both conventional poetic forms and lyrical directness in favour of an elliptical and philosophical approach.
Lisa Robertson (born July 22, 1961) is a Canadian poet, essayist and translator. Robertson studied at Simon Fraser University (1984–1988) before becoming an independent bookseller (1988–1994). Since 1995 she has been a freelance writer and teacher. Her many essays on the contemporary visual arts, published in gallery and museum catalogues since the mid-1990s, are collected in her 2003 book Occasional Works and Seven Walks from the Office for Soft Architecture. In 2006, Robertson was a judge of the Griffin Poetry Prize and Holloway poet-in-residence at UC Berkeley. From 2007 to 2010 she taught at California College of the Arts in San Francisco. In Fall 2010 she was writer-in-residence at Simon Fraser University in Vancouver. In Spring 2014 she was the Bain Swigget lecturer in Poetry at Princeton University. In 2018 she received the Foundation for Contemporary Arts C.D. Wright Award. Her first novel, The Baudelaire Fractal, will be published by Coach House Books in 2020.
Visual artist Guus van der Velden recently undertook the Kippenberger Challenge — an open invitation to equal Martin Kippenberger's average printed output of 7,45 books per year. Van der Velden will present the body of work he produced for this challenge and discuss Kippenberger’s mantra of Heute denken, morgen fertig.
The same evening, visual artist Alex Farrar will launch his new publication, "Wimper", with texts by Nicola Oxley and Nicolas de Oliveira, and David Price, interspersed with 81 new eyelash prints made on a risograph.
Guus van der Velden (1989) lives and works in Eindhoven. He received a BA and MA Sculpture from KASK (Ghent). Selected exhibitions include “checkraisefold” (SECONDroom, Antwerp), “Php #4” (The Pink House, Antwerp), “Prospects & Concepts” (Van Nellefrabriek, Rotterdam), “L’invention du Quotidien” (Wallspace, Eindhoven), “Part Tarp” (Part Parts, Nevele, BE).
Alex Farrar (UK, 1986) received BFA’s from the Gerrit Rietveld Academie in Amsterdam and Leeds Metropolitan University, after which he completed a two-year residency at the Rijksakademie van beeldende kunsten in Amsterdam. Recent solo exhibitions include ‘Secondary Emotions (i)’, de Appel arts centre, Amsterdam, ‘Secondary Emotions (ii)’ at Dürst Britt & Mayhew, ‘Code Duello’, Loods 6, Amsterdam, and ‘Self-Titled’ at Annet Gelink Gallery, Amsterdam. Recent group exhibitions include ‘Prospects and Concepts’, Art Rotterdam, ‘Summer Fete’, Ceri Hand Gallery, London, ‘Mostyn Open 18’, Oriel Mostyn Gallery, Llandudno, ‘Young British Art II’, DIENSTGEBÄUDE, Zurich. Both in 2014 and 2015 he won The Best Dutch Book Designs for two of his publications.
Poetry is the birthplace of the modern artist's book. With its upcoming program, Page Not Found pays tribute to the interplay between visual arts, poetry and publishing by inviting poets and artists to share their work alike. Artist and poet Anna Arov will host a cross-genre performance evening, inquiring how space, code, science fiction, and poetry shape artistic research and practice. She chose artists who have engaged with these topics: Martijn van Boven will talk about using NASA as his artistic co-creator, Margarita Osipian will perform live video inspired by the resonance between poetry and physics. She will read from her chapbook The Last Question, which is a libretto about space travel.
Anna Arov is a Russian/Canadian poet and artist living in Amsterdam. She teaches writing at the Royal Academy of Art in The Hague. Anna is an editor with Amsterdam based literary and art journal Versal and co-curates the cross genre performance series, VERSO at Mezrab in Amsterdam. Her poems have appeared in various literary journals and collections, including Beecher’s Magazine and SpringGun. Anna is the author of The Last Question (Dancing Girl Press, Chicago 2018).
Martijn van Boven (1977) is a visual artist from Amsterdam, with a focus on experimental films and computer generated art. His work is expressed through installations, films, collaborations with composers, and cinema performances. Van Boven has been the head of Interaction Design at the ArteZ Institute since 2012 and teaches Media Archeology.Van Boven received his credentials at the Image and Sound department of the Royal Art Academy in The Hague. He has been focused on abstract filmmaking since 2000, co-founded the Hague’s TAG Media Center in 2003, and in 2005 joined the curatorial team of Sonic Acts, the Netherlands-based festival operating at the intersection of art, music and science. He currently lives and works in Amsterdam.
Margarita Osipian is a Belarusian born, Canadian raised researcher, curator, and cultural organiser living and working in the Netherlands. Margarita works at the intersections of art, design, and technology; organizing collaborative projects both in formal institutions and in more precarious and fleeting spaces. Holding an MA in Media Studies from the University of Amsterdam and an MA in English Literature from the University of Toronto, her research has focused on visual culture, technology, and the carceral state. Margarita is part of The Hmm, a platform for digital culture; a member of the Hackers & Designers collective; and is the art editor for Versal, an art and literature journal based out of Amsterdam. She has done programming and curated exhibitions for the Salwa Foundation, TodaysArt, Bits of Freedom, Hackers & Designer, the W139, and Mediamatic, amongst others.
Poetry is the birthplace of the modern artist's book. With its upcoming program, Page Not Found pays tribute to the interplay between visual arts, poetry and publishing by inviting poets and artists to share their work alike. As pendant to the deliberate poetic act, Page Not Found invited Katja Mater to present her on-going project regarding dyslexia. The work she developed for this project, a double film projection echoing her recent exhibition at P/////AKT (Amsterdam), will be shown for the first time. Katja will also discuss with her guest, designer Salome Schmuki, whose publication “Dyslexia – Chunking Along A Straight Line – At The Crossing Turn Left” investigates this disorder as a graphic design problem.
Katja Mater graduated from the Gerrit Rietveld Academie and was resident at De Atelier (2003-2005). Recent exhibitions include “Dear Sides” (P//////AKT, Amsterdam, NL), “Hmmmmm” (Martin van Zomeren, Amsterdam NL), AMATEUR (Helper, New York, USA), 47th International Film Festival Rotterdam, “Bye Bye de Stijl” (Centraal Museum, Utrecht NL), “Tiled, some times in my office” (ltd los angeles, Los Angeles USA). “Multiple Densities”, her monograph, is published by ROMA Publications. In November 2018, Mater received the NN Group Art Award, an incentive prize for exceptional talent. She is part of the editorial team of Girls Like Us magazine.
Salome Schmuki studied graphic design at the Gerrit Rietveld Academie, where she began collecting research material about dyslexia and readability. Interested in different strains of dyslexia and how it occurs in various languages and writing systems, she approaches the topic from the perspective of a designer and a reader. Her publication “Dyslexia – Chunking Along A Straight Line – At The Crossing Turn Left” gathers the results of her inquiry, a project based on her typographic practice combined with scientific research. Seeking a dialogue with readers of different types, she investigates many aspects of the printed word, revealing its complex, challenging and arbitrary nature.
To kick off the new season, we're very happy to invite you to discover the gorgeous third issue of Baobab magazine, and meet some its contributors. Photographers and KABK alumni Olga Roszkowska, Nina Schollaardt and Tibor Dieters will present their work, and drinks will be served!
Baobab Magazine’s third issue, entitled "Content Union," reflects on the state of our continent. 25 students from both the BA and the MA course portray a series of untold stories and off the radar identities. From the biggest fake-city turned into a military playground in Germany to the copycat architectural style of Romas in Macedonia, passing through the political stances of musical genres like Flamenco in Spain to Turbo Folk in Serbia.
Kim? Contemporary Art Center in Riga recently celebrated 10 years of innovations in art and its discourse. To commemorate this event, Kim? and Page Not Found jointly organised a retrospective of Kim? multifarious publishing activities, including books by our very own Ola Vasiljeva. Opening in presence of Laima Ruduša, executive director of Kim? on Thursday 5 September at 17:00. Drinks will be served!
Kim? supports the development of emerging artists, theoreticians, curators, philosophers, translators and thinkers of various spheres aiming to provide a responsive context to their work and to make critical practices accessible to a wider audience. Since 2009, alongside its exhibition program, Kim? has also facilitated select exhibition catalogues, and numerous publications, that give voice to a specific range of essays and texts on art, art theory and criticism, and selected translations.
Over ten years Kim? Contemporary Art Centre has organised 700 events, 188 exhibitions in Latvia, 30 exhibitions abroad, has attracted around 600 000 visitors, and over the last five years made it possible for five artists to take part in international residences hosted by Kim? partner organisations.
For its last event before the summer break, Page Not Found will receive Hamja Ahsan, founder and co-curator of the DIY Cultures festival of creative activism, zines and independent publishing. Hamja will present his publication "Shy Radicals: The Antisystemic Politics of the Militant Introvert", heralded as a subversively funny hymn to introversion.
Drawing together communiqués, covert interviews, oral and underground history of introvert struggles (Introfada), the book is a detailed documentation of the political demands of shy people. Radicalised against the imperial domination of globalised PR projectionism, extrovert poise and loudness, the Shy Radicals and their guerrilla wing the Shy Underground are a vanguard movement intent on trans-rupting consensus extrovert-supremacist politics and assertiveness culture of the twenty first century. Shy Radicals are the Black Panther Party of the introvert class, and this anti-systemic manifesto is a quiet and thoughtful polemic, a satire that uses anti-colonial theory to build a critique of dominant culture and the rising tide of Islamophobia.
Hamja Ahsan is an artist, writer, activist and curator based in London. He was recently awarded the Grand Prize at the Ljubljana biennial 2019 for his current exhibition Aspergistan Referendum based on this book. He was shortlisted for the Liberty human rights award for campaigns on extradition and detention without trial under the War on Terror utilising art and film. His recent writing was anthologised in No Colour Bar: Black Art in Action 1960-1990. He has presented art projects at PS1 MOMA at New York Art book fair, Tate Modern, Gwangju Biennale, Staedelschule in Frankfurt, Shaanakht festival Pakistan and Shilpa Academy, Bangladesh. His practice encompasses all media: conceptual writing, building archives, performance, video, sound and making zines.
Page Not Found heartily thanks PrintRoom for suggesting and co-organising this event.
Following their recent show at the Royal Academy of Arts, Page Not Found invited the graduates of Master Artistic Research to present their theses and the artistic interests underlying this two-year project. The event will also be the occasion to celebrate the graduation of Mel Chan, Arthur Cordier, Lucy Engelman, Matthew Lanning, Daisy Madden-Wells, Katrina Niebergal, Angel Orellana, and Helena Sanders. Drinks will be served!
Page Not Found is proud to conclude The Hague Contemporary Art Weekend with the free screening of this documentary by Fabrizio Terranova, giving a clever and insightful glimpse into the thought of a major contemporary figure.
Donna Haraway is a prominent scholar in the field of science and technology, a feminist, and a science-fiction enthusiast who works at building a bridge between science and fiction. She became known in the 1980s through her work on gender, identity, and technology, which broke with the prevailing trends and opened the door to a frank and cheerful trans species feminism. Haraway is a gifted storyteller who paints a rebellious and hopeful universe teeming with critters and trans species, in an era of disasters. Brussels filmmaker Fabrizio Terranova visited Donna Haraway at her home in California, living with her – almost literally, for a few weeks, and there produced a quirky film portrait. Terranova allowed Haraway to speak in her own environment, using attractive staging that emphasised the playful, cerebral sensitivity of the scientist. The result is a rare, candid, intellectual portrait of a highly original thinker.
The open-air art cinema is located under the fruit trees at 't Gras v/d Buren (opposite Nest). There will be drinks and chairs, beanbags and leather armchairs, but don't hesitate to bring a blanket or a picnic!
At the occasion of The Hague Contemporary Art Weekend, Page Not Found is delighted to host celebrated artist Navid Nuur, for a talk about his publishing practice.
The way in which Navid Nuur (born in 1976 in Tehran, Iran) relates to material, the space around him and his observations therein, can almost be regarded as devout. The attention for detail and the careful fine-tuning of the various elements of a work or exhibition make the audience part of an 'inner' world. In Nuur’s work — although very conceptual at first sight — a very personal visual problem becomes the central question. What Nuur has in common with the conceptual artists from the sixties is the relation between concept and form. Form for him however, is not necessarily the result of the idea, but materializes through a subjective program of requirements or rules in which intuition has the upper hand. He applies concepts that often relate to a temporary in-between state that places his work between the audience and an often abstract phenomenon, such as light, energy, air, or 'rest space'. Nuur's form-language and meaning are therefore principally purely process-oriented. His work belongs to the public collections of the Centre Pompidou (Paris), the Stedelijk Museum (Amsterdam), the Bonnefantenmuseum (Maastricht) and the S.M.A.K (Gent), among others.
In June, Page Not Found brings illustrative arts into focus, for their strong affinities with publishing, and their influence as a rich field of experimentation, which permeates graphic design and contemporary art. The third event of this focus will see the launch of the latest issue of Lagon Revue, entitled Marécage, in the presence of its art directors, Alexis Beauclair and Sammy Stein. They will also present their latest individual works.
Lagon is a prospective comic book magazine exploring new forms of graphic narration. It hosts what has been designated as a new school of abstract formalism: The magazine has been the echo chamber of a group of young illustrators, who favour sequences of drawings with a geometric and minimalist style, with little or no narrative, but for the unfolding of a process. The magazine is bilingual (French and English) and takes a new name with each new issue. To produce this issue, different printing techniques were used (risograph, offset, and silkscreen), and the resulting prints, assembled.
Alexis Beauclair (b. 1986) is a French drawing artist. His work includes drawings, comics and commissioned illustrations for such publications as The New York Times, New Yorker and Bloomberg Businessweek. He self-publishes his drawing zines and mini-comics in his risograph print studio, Papier Machine, co-founded with Bettina Henni in 2012. He has also produced comics, children’s books and illustrated books with publishers. His “Vanishing Perspective” collection of comics was published in United States by 2dcloud in 2018. His work on comics is focused on minimalism, questioning reading and the comics’ medium, while trying to refine and reveal the pure mechanics of the comic form. He is also co-editor of the international comics anthology “Lagon,” founded in 2014.
Sammy Stein is a French artist and publisher. His books, published by Editions Matière (FR), Calipso (COL) or by himself, combine narrative experiences and graphic minimalism. His publications, installations and ephemera sculptures — in which books often play a central role — have been shown in the Musée d'Art Moderne de la ville de Paris (FR), Printed Matter (USA), the French Institute of Tokyo (JP), Essential Store (JP), among others, and various international book fairs (New York Art Book Fair (USA), Tokyo Art Book Fair (JP), Safari (EN), Festival International de la Bande Dessinée d’Angoulême (FR)). He regularly collaborates with international magazines and institutions such as MACVAL (FR). He is the co-founder of magazines Collection (interviews with contemporary artists, cartoonists, graphic designer) and Lagon (contemporary and prospective comics).
In June, Page Not Found brings illustrative arts into focus, for their strong affinities with publishing, and their influence as a rich field of experimentation, which permeates graphic design and contemporary art. The second event of this focus is a workshop for children, aged 7-12, led by reknown illustrator Zeloot. The participants will make an animation based on a story chosen by the artist. Reservation is required, contact Page Not Found for more information.
Zeloot's practice embraces drawing and illustration. Her editorial works have been published in a wide variety of international newspapers among which The New York Times, Die Zeit and Volkskrant. The fantastical and powerful language of her illustrations envelops and engages with the content rather than merely decorates it. Zeloot’s designs and posters have reached cult status in the music world and subculture scenes.
In June, Page Not Found brings illustrative arts into focus, for their strong affinities with publishing, and their influence as a rich field of experimentation, which permeates graphic design and contemporary art. The first event of this focus is a print workshop led by painter and illustrator extraordinaire Jordy van den Nieuwendijk. The participants will produce together a magazine, using their own material and RISO printers. Reservation is required, contact Page Not Found for more information.
Jordy van den Nieuwendijk (b. 1985), lives and works in the Netherlands. He graduated from the Royal Academy of Arts, The Hague in 2011, where he held a funeral and memorial service for his then alter-ego ‘Superoboturbo’. Through painting, Jordy explores fundamental objects of everyday life. Working with primary colour palettes and simplified shape structures, he has a talent for examining subject matter in series that innovate inside carefully controlled boundaries. While freeing himself from the choice between abstract or figurative image forms, he creates a field of tension reinforced by the timeless character of his work. His tendency towards this style of painting could be described as new purism. He has had solo shows in Rotterdam (Kunsthal), New York (Moiety), and most recently in London (Public Gallery). As a commercial illustrator, he has worked on projects for countless clients such as American Express, The New York Times and Jacquemus. Always injecting elements of fun and playfulness into his editorial work, he maintains a truly unique and discernible approach. Jordy’s work walks a charming and endearing line between the mature and naive. Often (if not always) it conveys an underlying optimism which is assuredly refreshing in our contemporary culture. (Biography by Jamie Ball, Kunstkatalog, 2019)
In May, three events will coincidentally explore how publishing artists turn to fiction. For Hoogtij#57, the collective Das Leben am Haverkamp is invited to organize an event around their work at the Zeeuws Museum, where they created an entire collection of objects, based only on audio descriptions of the museum's pieces.
The collective Das Leben am Haverkamp, formed in 2014, is composed of four designers: Anouk van Klaveren (1991), Christa van der Meer (1988), Dewi Bekker (1990) and Gino Anthonisse (1988). After their studies at the Royal Academy of Art in The Hague, the designers all set up an individual practice, operating on the cutting edge of different art disciplines, and creating together the necessary context for their unpolished fantasies and unconventional approach to fashion. This resulted in high-profile projects such as Gefelicifashion, Quirky Cruise and Bravado - A pretentious, swaggering display or courage. For the latter, the collective received a Dutch Design award in the Fashion category in October 2017, in addition to being nominated in the Young Designer category.
Projects from the collective members have been shown during Salone del Mobile in Milan, London Fashion Showcase, Centraal Museum Utrecht, Gemeentemuseum Den Haag, Boom City in Chengdu in China, Dutch Design Week and as opening show of the Amsterdam FashionWeek.
In May, three events will coincidentally explore how publishing artists turn to fiction. Page Not Found has chosen Rijksakademie alumni Becket MWN as the first guest curator, for his text-based practice which intersects installation and speculative fiction, and his publishing activity under the nom de plume Becket Flannery. He proposed collaborating with visual artist Alison Yip on new work. Their project departs from a shared interest in feigned sequestration; doors that slam; windows that open; what "was" breakfast.
Becket MWN received his MFA from the USC Roski School of Art in 2014, and in 2016-2017 was a resident artist at the Rijksakademie van Beeldende Kunsten. Recent exhibitions include “Paranoid House” at the Vleeshal (Middelburg, NL) and “n ‹o› ‹o› n” at One Gee in Fog (Geneva, CH). He has recently performed at How To Show Up? (Amsterdam, NL) and Kantine (Brussels, BE), among others. He writes under the name Becket Flannery, contributing to publications such as Metropolis M and Initiales. His first book The Chance Event, wherein… is forthcoming from Athénée Press.
Alison Yip lives and works in Amsterdam and Brussels. She received her MFA from the Hochschule für Bildende Künste, Hamburg (Jutta Koether), and was a guest student at Kunstakademie Düsseldorf (Peter Doig, Lucy McKenzie). She received her BFA from the Alberta College of Art and Design. Recent solo and group exhibitions include Chez Malik’s (Hamburg, DE), MOM (Hamburg, DE), Kunsthuis Syb (Beetsterzwaag, NL), Gärtnergasse (Vienna, AT), Vancouver Art Gallery (Vancouver, CA), and Fantaspazio (Milan, IT).
In May, three events will coincidentally explore how publishing artists turn to fiction. For “The Drowned Giant”, her previous project, Anna Moreno documented the reenactment of a landmark happening by producing a vinyl record, which included a booklet with texts intertwining facts and fictions. At the occasion of her forthcoming event, she will elaborate on the gesture of softening the requirements of artistic documentation with fictional devices, as instanced by her next project, involving fotonovelas.
Anna Moreno (Barcelona, 1984) lives and works in Barcelona and The Hague. She has been teaching Artistic Research at the Royal Academy of Art (The Hague) and other institutions and is a co-founder of the artists’ initiative Helicopter (The Hague). Her art practice develops through expanded events and solo exhibitions such as Billennium, Catalonia’s Architectures Association (COAC), Barcelona, 2018; D'ahir d'abans d'ahir de l'altre abans d'ahir i més d'abans encara, Fundació Blueproject, Barcelona, 2016; The Whole World Was Singing, HIAP Project Space, Helsinki, 2016 and An Awkward Game, 1646, The Hague, 2015. She has shown her work in the group shows We Are As Gods and Might as Well Get Good at It, Nieuwe Vide, Haarlem, 2018; Beehave, Joan Miró Foundation, Barcelona, 2018; En los cantos nos diluímos, Sala de Arte Joven, Madrid, 2017; Distopía General, Reales Atarazanas, Valencia, 2017: CAPITALOCEAN, W139, Amsterdam, 2016; Lo que ha de venir ya ha llegado, CAAC in Sevilla, MUSAC, at León and Koldo Mitxelena in Donostia, 2015, and Generaciones, La Casa Encendida, Madrid, 2014, among others. Anna Moreno's work has been featured at symposia such as Visual Activism, SFMOMA, San Francisco, 2014, and United We Organize, Stroom Den Haag, The Hague, 2013. The artist has participated in residencies at Artistas en residencia, CA2M and La Casa Encendida, Móstoles and Madrid, 2017; Seoul Art Space Geumcheon, Seoul, 2012, and Atelierhaus Salzamt, Linz, 2011; and has recently been the recipient of the Botín Visual Arts Grant, Santander, 2018 and of an upcoming fellowship at the Van Eyck Institute, Maastricht, 2019.
Page Not Found is delighted to invite you to a reading of "Communism for Kids" by its author, Bini Adamczak.
This book presents political theory in the simple terms of a children's story, offering relief for many who have been numbed by Marxist exegesis and given headaches by the earnest pompousness of socialist politics. It proposes a different kind of communism, one that is true to its ideals and free from authoritarianism. Adamczak illustrated herself the story, showing lovable little revolutionaries experiencing their political awakening. In an epilogue, the text leaves the genre of children's literature, to provide theoretical justification about the various forms of anti-capitalist critique. In March 2017, the volume was published in English by the MIT Press, which led to vehement protests from the US alt-right and conservative circles who saw the book as an attempt to corrupt America's youth. Among others, the LA Review of Books praised the opus.
Bini Adamczak (Berlin, 1979) is a Berlin-based social theorist and artist. She writes on political theory, queer politics, and the past future of revolutions. She coined an antonym of "penetration": circlusion, conjuring a speculative shift in the framing of sexual power and politics, by assuming agency around the acts of enclosing, encircling, engulfing. She is a member of the Jour Fixe initiative berlin. She published "Past Future: On the Loneliness of Communist Specters and the Reconstruction of Tomorrow", a performative and political work of mourning, and two books, not translated in English, at the occasion of the hundredth anniversary of the Russian Revolution.
Page Not Found invites you during three consecutive events to discover publishing artists who share an interest in sexualized representations and renewing the discourse about them, and more generally in feminist agency in their production. During her event, at the occasion of Hoogtij, Zoe Williams chose to screen "Ceremony of the Void", a film documenting one of her performances.
The politics of sex is central Zoe Williams’ practice. Her works touch on ideas of seduction, sensuality and transgression. Williams is interested in building a subtly irreverent dialogue and tension between such polarities as the animate and the inanimate, the seductive and the repulsive, as well as examining contemporary attitudes towards notions of taste, sexuality and beauty. Zoe Williams recently published ‘The Unruly Glove, The Green Bum and The Sickly Trickle’, designed by Rory Gleeson, which incorporates William’s drawings and is accompanied by the poetry of the artist and writer Susan Finlay. Susan Finlay works across various media including painting, fashion-textiles and text. Her novel,’Our Lady of Everything’, will be published by Serpent's Tail in Spring 2019.
Zoe Williams (b.1983). lives and works in London and is represented by Galerie Antoine Levi, Paris. Recent solo exhibitions include: The Unruly Glove, The Green Bum and The Sickly Trickle, Galerie Antoine Levi, Paris; Morsa, Studio Amaro, Naples, Pel, Galerie Antoine Levi; Copenhagen; Soft Paste, The Studio Warehouse Gallery, Glasgow; The Flight of O, Spike Island, Bristol. Significant group projects include (X) A Fantasy, group exhibition and performance commission, DRAF, London; Spring/Summer 2015, DCA, Dundee; The Chic and The Borderline, cur. by David Roberts Art Foundation, part of Art International Istanbul; Watch yourself, cur. by David Dale Gallery with Video Art Network Lagos and UK:NG Festival, Rele, Lagos; Mood is Made /Temperature Is Taken, GSS, Glasgow; 'Chateaux Double Wide', collaborative project, Glasgow International Festival 2016; H Y P E R C O N N E C T E D, MMOMA, part of 5th Moscow International Biennale of Young Artists. Forthcoming projects include The Armoury Show 2019, New York, A group exhibition at Greengrassi, London and a solo exhibition at Mimosa House, London in May 2019.
Page Not Found invites you during three consecutive events to discover publishing artists who share an interest in renewing our discourse about corporeality and sexuality. Viktorija Rybakova's most recent work revolves around the human eroticism and the idea of the body as a sensitive fabric. At the occasion of this event, she will talk about how to listen to your heart, and present her works concerned with body sensations.
Viktorija Rybakova (b. 1989, Vilnius) is an independent artist, architect and researcher from Lithuania. Her research practice combines the academic and artistic fields, with her main focus being the human body and history. Rybakova is currently working on research in the field of neuroscience, the history of eroticism and decoding the languages we speak through a thorough exploration of the body tissues. After concluding a fellowship at Jan Van Eyck Academie in 2017, she moved to Brussels, where she runs Studio Laumes: an art, design and research atelier, together with Goda Budvytyte. Viktorija’s unique handmade publications have been exhibited a.o on the 55th Venice Biennial. She is the winner of the Tallinn Print Triennial 2016.
Page Not Found invites you during three consecutive events to discover publishing artists who share an interest in sexualized representations and renewing the discourse about them, and more generally in feminist agency in their production. During her event, AnnaMaria Pinaka will talk about her experiments with a methodology she calls porno-graphing. This involves the reappropriation of sexual and pornographic representations to propose alternative mappings of sexual intimacy. The discussion aims to address the binary position of art/porn, public/private and healthy/pathological by pointing to the excess of space that spans these positionings.
AnnaMaria Pinaka is a visual artist and researcher. In her work, she mainly focuses on the intimacies of domestic life while re-appropriating sexual or pornographic imagery through lens-based media, a method she conceptualizes in her written work as porno-graphing. She recently finished her PhD at the department of Theatre and Performance at Roehampton University, a project that took her almost eight years. Part of her practice-based research is now published as a zine by Onomatopee. The publication, that is titled Porno-graphing, carries the subtitle ‘What do dirty sexual subjectivities do to art?’ and it discusses different positions in the art/porn debate as well as the ways in which porno-graphing strategies can mediate between binary stances.
Page Not Found invites two outstanding online publishing platforms, Cosmos Carl - Platform Parasite and oneacre.online, to present their current projects, discuss their leitmotiv, and address the rarefaction of public online spaces.
“Cosmos Carl - Platform Parasite” is an online platform that hosts nothing but links provided by the artist. Be it encrypted, inside an archive, available through open source software, live-streamed, downloadable, in a webshop, on the dark web, or on streetview, the CC work, although on public display, is directly accessible through the hyperlinks displayed on www.cosmoscarl.co.uk. Cosmos Carl encourages artists to reclaim (commercial) online platforms to produce and display their art. This means that the work is displayed on a website that is neither designed nor hosted by the artist. The fact that the work is made on an existing online platform implies that visitors may stumble upon it, not necessarily viewing it as art. Cosmos Carl is run by Frederique Pisuisse and Saemundur Thor Helgason.
oneacre.online is an experimental publishing and distribution project that utilises an online platform to seed unprintable text-based works by emerging artists. The project explores the possibilities of hyper-publishing in a series of four commissioned publications. Thematically oneacre.online first four commissioned publications by all female art practitioners, place themselves in the online world of constant updates and refresh buttons that, as theorist Wendy Chun observes, “exist at the bleeding edge of obsolescence. We thus forever try to catch up, updating to remain the same”. The publications use the omnidirectional online terrain and actions that are native to it — such as refreshing, instantly available to edit, easily erasable, highlighting, copy-pasting and non linear navigation — to explore and critically evaluate visions and versions of power systems by tracing the politics of technological infrastructures. Hidden in places as traditional as archives, as often used as smart phone applications, omnipresent and inescapable as the financial market and as quiet and evasive as the transfer of information in narrative structures. oneacre.online is made by Stef Kors, Titus Knegtel, and Victoria Douka-Doukopoulou.
Page Not Found is happy to invite you for our first event in 2019 to a talk by Kim David Bots. The event will be open-ended; a talk about past publications, publications he is currently working on and other more peripherally related material.
Within his practice, Kim David Bots uses drawing and collecting to generate and amass large amounts of material. This material forms the basis for most of his work. Recently Kim has been using this approach to create spatial arrangements that blur the distinction between work, archival material and found objects. These arrangements are overtly narrative, meandering between humorous, caricatural and melodramatic. In this context, publications are used to test, redirect and form ideas. The publication Kim is currently making is a collection of snippets that were accumulated over the course of two years. During his event at Page Not Found, Kim will talk about this publication in connection to his practice.
Kim David Bots (1988) lives and works in the Hague and is part of artist initiative Billytown. He graduated from the HKU in 2012 and has been part of numerous group- and solo-exhibitions, among which at Kunstfort bij Vijfhuizen, Stroom in The Hague and Wiels in Brussels. In 2012 he was awarded with the Piet Bakker Prize and most recently in 2017 he was nominated for the Royal Award for Modern Painting.
Page Not Found is delighted to invite you to an artist talk with Falke Pisano, following her recent performance in the Stedelijk Museum Amsterdam.
Although book publishing does not seem to come easy to her (she has not made another monograph publication after her first artist book Figures of Speech eight years ago), Falke Pisano’s practice offers plenty of opportunity to think about different forms, scales and intentions of publishing in the context of an artistic practice. Often working in cycles that span over several years, she produces a field of different expressions that include — besides sculptures, installations, videos and performances — articulations of intention, reflections on method, curatorial gestures and conversations.
In her artist talk at Page Not Found, Falke will speak about her latest cycle “Vondervotteimittis” in which she questions concepts, categorisations and divisions that have been naturalised in the emergence and unfolding of western modernity and coloniality, and that still structure the foundations of our everyday reality. She will specifically focus on the performance “Wonder-What-Time-It-Is”, which departs from Edgar Allan Poe’s 1839 satirical story “The Devil in the Belfry,” narrating an event that takes place in the fictional Dutch village of Vondervotteimittis. Chaos ensues after a foreigner enters the town, attacks the bell-ringer, and rings thirteen o’clock, thereby disrupting the ordered, predictable lives of the town’s inhabitants. Falke uses the story to discuss the standardisation of time during the nineteenth century, and its connection to industrialisation and imperialism. She also is attentive to how xenophobia can arise from resistance to alternative knowledge frameworks.
The artistic practice of Falke Pisano (b. 1978, Netherlands) scrutinizes the ways in which systems of thought are structured, formalized, and ultimately naturalized. Her series of works stem from long-term research cycles that delve deep into specific subject matters and undermine conventional frameworks of knowledge by triggering a continuous exchange between language, ideas, materials, and forms. Her current research addresses the development of modern science and its process of institutionalization. The notions of progress, rationality and universality embedded in the official discourse are destabilized as the artist negotiates different modes of thinking and opens up the possibility for diversity, pluralism, and heterogeneity in the realm of empirical sciences.
Pisano studied at the HKU University of the Arts Utrecht and the Jan van Eyck Academie in Maastricht. She has participated in residencies at NTU CCA, Singapore; M4gastatelier, Amsterdam; the American Academy in Rome; Capacete, Rio de Janeiro; and the Henry Moore Institute, Leeds. Her work has been exhibited and performed at venues including Praxes Center for Contemporary Art, Berlin; The Showroom, London; De Vleeshal, Middelburg; Grazer Kunstverein, Graz; the Berlin Biennale; BAK, basis voor actuele Kunst, Utrecht; De Appel Arts Centre, Amsterdam; the Venice Biennale; Museo Reina Sofia, Madrid; the Biennale of Sydney; Manifesta 7; and the Istanbul Biennial. In 2013 she was awarded the Prix de Rome.
Page Not Found is delighted to invite you to meet visual artist Özlem Altın. She will present her latest publication, “Dance”, and unveil a new mini-edition, made especially for our event.
In her work, Özlem Altın draws especially from the comprehensive collection of images and texts that she has intuitively compiled from various sources and, moreover, from her own drawings and photographs. Altın transforms the exhibition space into a kind of stage, into a site for performing a visual programme, the elements of which emerge, surface, and then disappear again, similar to a clue or trail. The focus of this programme rests with the body, the languages of bodies, the gestures, the suggested movements and changes in posture. The body, for Altın, is a vehicle for transferring knowledge, experience, a vehicle of communication and exchange.
Özlem Altın (b.1977) is a visual artist based in Berlin. She is a graduate of the Piet Zwart Institute in Rotterdam (MA) and the Hoogeschool voor de Kunsten in Arnhem (BA). Selected solo shows include 10th Berlin Biennale (2018), Camera Austria, Graz (2017), Vleeshal (as part of OAOA), Middelburg (2015), Cathartic ballet at Circus in Berlin (2013), Rhythm of Resemblance at Günther-Peill Foundation at the Leopold Hoesch Museum in Düren (2012) and Ianus (My memory of what happened is not what happened) at Fondazione Morra Greco in Naples (2010). Özlem Altın is the founder of Orient Press publishing house in Berlin and the member of the Oceans Academy of Arts (OAOA).
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|Ella Wang Olsson||PR|
|Shana De Villiers||Support|
|Helgi Þórsson||Interior Design|
|Bart de Baets||Visual Identity (print, social media)|
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