Valiz folder spring 2016

Page 1





m um s g/ 6 n ri 201 sp


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v Het Sieraad, Studio K34-K36 Postjesweg 1, 1057 DT Amsterdam

Sarah van Binsbergen, Pia Pol, Astrid Vorstermans



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nt W it l s xt l Co ut xt nte t Wa ho Co nte t u W it l s – Co ho u l t W it ho Wa lls W it te x s Wa xt on – t a ll e C W u t – n xt ho Co – ut xt nte t W it l s ho xt nte t l Co u W it Co nte t u Wa lls ho xt Co ho u Wa xt W it l s – nte t W it ho l Co – nte t lls u W it Wa Co e xt Wa t ho lls u t x a it o e n W h W – s – nt Co ut W it t Co s t a ll – o u l x W t xt l h o x h xt Wa nte t nte t W it l s – nte t W it Co nte t u l Co Co – u lls u xt Co ho u Wa Wa ho ho xt nte t W it ho s W it W it l s Co – s – nte t u W it a ll l ls Co W t a ll t ho l u a x W x t a it o W x W h W – nte t nte t – lls W it nte t Co – – xt Co Wa t u lls ou Co xt Wa xt nte t te x ou it h ho e – o n h W t it C s o n u nte t W C – ll ut xt W it l s Co ho ut lls Co Wa u ho l xt nte t W it ho Wa W it ho Wa Co – nte t lls u W it lls W it l s Co Wa – t ho lls – Wa ou Wa tex W it al – xt t it h ls W – e x on l W t t C e s t a – x n W t ll ou nt – t Co xt Wa t nte t u te x it h e Co – o n u o W t C n h u t Co – lls ho xt Co ho ou ut W it l s Wa t W it in ‘Context n t e Liesbeth sWithout Walls’ W itInhCommon W it ho Skin philosopher Levy and l tex t Co – s lls ‘nonW it a ll Wa o n Myro uwork of theCartist Daphne Wintercontinental, Wa a l l Pappers disclose hthe lls ut western’ contemporary art xt W – Wa ho W it is related (Gabon/France, theitpower – – to philosophical, iam Mihindou s1964) and W nte t – anthropological, political Co s t xt a ll t – u of dialogue. of the and art historical x tLevy basesWher essay on the workW a ll t ho tex e t e xnotions. 20th-century nte t x n t it philosopher Emmanuel Levinas concerne each n volume consid– n W t Co Co s u nt t C othe confrontation Cersoone theme,oand – uist ou ing with the other. t x t Daphne Pappers Co a ll h ou ho e u organisedh as a triptych: a W t h t it o x n W analyses artistic W it l s case study of an artistic W it Mihindou’s it h tthe objects, ls W it C o practice: – s nte t s l u W l l l o a oeuvre, a visual essay by s l o photo series ah coming to termsCwith l W ll xt Wa W a and films show the particular it ou W a artist and a collective Wa pasts, imaginedWin ritual.lThe – nte t reflective essay by a coit h – l s heart ofWthe Co – to other publication– comprises – author which links W a part in which Myri-a l l s ou ext x t an artists’ xt t t h t disciplines. e x x W n t it am Mihindou first time reveals – the relationship n for the W nte t Co nte t ut t n t e tbetween C osketches, – lls xt Co Co u ho o unotes and key works. u Co Wa t nte t ou it h W it ho ho tex Co – lls W it it h s In PeauWcommune W it l s on s lls ou t in de serie W‘Context filosoof Wa l W a onderzoeken W a ll it h Liesbeth LevyC ou ext a Without Walls’ wordt l l W h t a W en Daphne Pappers het werk van de kunstenaar Myriam – s n it W‘nietintercontinentale, – ll W t Co – xt westerse’ hedendaagse Mihindou (Gabon/Frankrijk, enade kracht van de t 1964)W – lls ou e x – a t h t e x W beeldende kunst in relatie n t – van de dialoog. essay op de filosofie xt W it Co x t LevyCbouwt o n haar gebracht met filosofische, nte t ut – lls u t Levinas over deeconfrontaxt nte Co Emmanuel antropologische, politieke ho u n t etwintigste-eeuwse Wa t ho Co n t Mihindous t de ander. en kunsthistorische noties. W it ho Co tie u met Pappers analyseert tex W itDaphne ut t Co – lls elk boek bevat één thema, W it lls ho o u tonen C o n ho Wa a objecten, praktijk:Wde fotoseriesit enhfilms lls en wordt uitgewerkt in een ut xt W it artistieke Wa W it ho s W verbeeld drieluik: een casestudie – sin nte t een van collectieve verledens, l l verwerking – W it van een artistiek oeuvre, Co t a ll lls – u ls x W arituelen. Het hart van de a t uitgave bevat eenWkunstenaarsl o e een visueel essay door de x a W t h W nt te betreffende kunstenaar – waarin Myriam cahier Mihindou voor het eerst–relaties W it tex t s Co on n u l t en een beschouwend C – t t l o o u – x x schetsen, aantekeningen C h toont e tussen en sleutelwerken. ut Wa essay van een coauteur, ho xt nte t W it ho nt die crossovers maakt naar W it Co – xt nte t lls u W it Co andere disciplines. ut lls Co Wa ho lls u xt nte Wa ho Wa ho W it Co – nte t t W it l s – lls W it Co t – u ou l Wa lls xt ho tex Wa Wa it h ext – on nte t W W it t t C s o n u l C – – l xt Co ho lls ou ut Wa xt xt nte t it h W it Wa ho s Co – nte t u W it n t e t W a lls a ll ls Co W t ho l u – x W Co u a it o W h W – nte t ho – lls W it Co xt – u xt W it l s Wa lls xt ho l nte xt Wa nte t – nte t W it Wa Co Co nte t u Co – lls u ut xt Co ho u – Wa t ho ho nte t W it ho s t tex W it Co – W it W it on a ll s lls ou t tex l C W t a h l u n x W lls Wa ho W it Co – nte t Wa – lls W it ut Co – xt Wa t lls ou ho – xt Wa nte t tex it h e – o W it n W t C n u Co – lls ut t xt xt lls C oPappers ho Wa ho ou xt nte t Wa W it Daphne nte W it it h Co – nte t lls u Co lls Co W aMyriamWMihindou ho lls u ut – xt Wa Wa ho W it ho – nte t – lls W it Co xt s t – W it u Wa xt Liesbeth Levy a ll t ho tex ls e nte x W n t l it e o – n W t t Co C Wa Co – on lls ou ut ut t xt C a h o o e u W t h t it h x n W ho – W it Co – W it nte t lls ut W it lls Co t Wa ho lls u Wa xt lls Valizx t t Wa ho tex W it nte t Wa nte – on lls W it tex Co u –C Co ut Wa on lls t xt t ho – ho Wa –C ou – ou nte t W it W it Co it h – it h t s– t lls u l x W x – a W l o e t W t s h t Wa ls nte xt on a ll tex tex l W it t e C s n n t W a t u l Co x o o n l o W t t C t Co –C Wa nte t it h ou ut ou ou o h W o h h s C h it u – – ll W W it – W it W it – ho t Wa lls xt lls W it – lls t Wa xt tex lls Wa nte t Wa xt lls on tex xt Wa nte Co u Wa –C ut on nte t xt nte t Co ho t ho Co –C ut Co u – nte t u W it ou ho W it ho Co ho s– u lls W it it h W it – W it – ho t Wa xt s– a ll W s l x e it t W s l l e l t x l W – t l n Wa lls Wa xt on Wa nte t xt lls xt Co Wa Co nte t t Wa ut – C hout nte t nte t ou Co Co tex ho it Co u n it h ou u W – o it o h W – o h C W h ut lls W it – lls W it – W it – ho Wa lls Wa xt lls xt lls W it – lls Wa Wa Wa nte t xt Wa nte t xt lls xt Co Co u nte t Wa u nte t xt nte – ho Co ho Co u Co u nte W it ho W it – t ho s– Co W it – lls W it – a ll tex s a t W s l n t W x l ll Co t Wa tex t t Wa nte t x n x u o e o e C t t C u nt ho ou on t ho Co h C u it W it it o W – h W – lls lls W it – lls Wa Wa Wa xt lls xt Wa nte t xt nte – Co Co u nte ho Co xt W it – lls nte a o t W C ut tex o n Co it h




Common Skin

Common Skin

Mihindou / Pappers / Levy

ISBN 978-90-78088-22-6

ISBN 978-90-78088-99-8

ISBN 978-90-78088-67-7

9 789078 088226

9 789078 088998

9 789078 088677



The Shape of Evidence examines the role andWuse of l s l visual documents in contemporary art, looking atW a art works in which the document is valued not only as a source of information but also as a distinctive visual and critical form. It contends that for artists who use film, photography or written sources, adopting formats derived from specific professional, industrial, scientific or of commercial contexts, the document offers a way to develop a critical reflection around issues of representation, knowledge production, art and its history. It addresses several issues that are key both in art and in general culture today: the role of the museum and the archive, the role of documents and the trust that is placed in them, the circulation of such images and the historical genealogies that can be drawn in relation to images. Its chapters are based on a close reading of a select number of works by Christopher Williams, Jean-Luc Moulène, Zoe Leonard, Sven Augustijnen, Fiona Tan and Wendelien van Oldenborgh. The book discusses objects and ideas drawn from a wide spectrum of areas including literature, history, scientific representation, surrealism, conceptual art and commercial photography. The Shape of Evidence invites viewers to reflect upon the production and interpretation of seemingly straightforward images, and proposes that some artists can show us through their practice how to turn these deceptively simple images inside out.

Sophie Berrebi The Shape of Evidence

Sophie Berrebi is a writer, art historian and curator, born in Paris and living in Amsterdam. She works at the University of Amsterdam, teaching art history and theory, mainly in the areas of photography and contemporary art.

01. herman de vries— to be all ways to be E – ISBN 978-90-78088-99-8 € 25,00 .



The vi s-A-vi s series provides a platform to stimulating and relevant subjects in the young visual arts, architecture and design. The authors relate to history and art history, to other authors, to recent topics and to the reader. Most of them are academic researchers. What binds them is a visual way of thinking, an undaunted treatment of the subject matter, and a skilful, creative style of writing. Valiz, Amsterdam <>

02. Daphne Pappers e.a. Common Skin E – ISBN 978-90-78088-67-7 € 19,90

03. Kitty Zijlmans e.a. World Art Studies vV E – ISBN 978-90-78088-22-6 v € 29,50

Sophie Berrebi

04. Sophie Berrebi The Shape of Evidence E – ISBN 978-90-78088-98-1 € 25,00

Contemporary Art and the Document



12 January 2016 Book launch Moving T With Rudi Laermans a Roos van Berkel Theaterschool Amster

15 January 2016 Book launch In-between Dance Cu With Guy Cools and Su International Theatre & Books, Amsterdam (NL www.theatreandfilmbo


vi s-A-vi s Valiz

ISBN 978-90-78088-97-4

vi s-A-vi s Valiz

ISBN 978-90-78088-98-1

9 789078 088974



9 789078 088660

ISBN 978-90-78088-66-0



05. Janneke Wesseling De volmaakte beschouwer NL – ISBN 978-90-78088-97-4 € 10,00 – e-book

07. Pascal Gielen Repressief liberalisme NL – ISBN 978-90-78088-84-4 € 19,50

12 January 2016 Book launch In-between Dance Cu With Guy Cools, perfor by Akram Khan Fontys School for Fine Performing Arts, Tilbur

De ervaring van het kunstwerk en receptie-esthetica .

9 789078 088981

06. Pascal Gielen e.a. Autonomie als waarde NL – ISBN 978-90-78088-66-0 € 15,00

De volmaakte beschouwer

The Shape of Evidence

ISBN 978-90-78088-98-1 Printed and bound in the EU

9 789078 088981

Janneke Wesseling

7 January 2016 Book launch Interrupting the City With Sander Bax, Pasc Bram Ieven and others Pakhuis de Zwijger, Amsterdam (NL)

NL/BE/LU Coen Sligting, www. coensligtingbookimpo Centraal Boekhuis, www.centraal.boekhui

GB/IE Anagram Books, www.anagrambooks.c Adeline Mannarini Phoebe Blatton

ISBN 978-90-78088-84-4

9 789078 088844

Design folder: Lotte Schröder, www.termsofcircumsta Typeface: Karla (Goo webfont), Andale Mon

cal Gielen, s

ultures rmance

e and rg (NL)

Together and

rdam (NL) chool

ultures uzy Blok & Film L)

22 January 2016 AICA Symposium ‘Het Nieuwe Netwerk’ Lecture on Spaces for Criticism by Thijs Lijster Stedelijk Museum Amsterdam (NL) 23 January 2016 Opening exhibition Ulay | Polaroid + book launch Ulay: What Is This Thing Called Polaroid? Nederlands Fotomuseum, Rotterdam (NL), www. 24 January — 1 May 2016 Exhibition Ulay | Polaroid Nederlands Fotomuseum, Rotterdam (NL), www.

com ogle no,

12 — 14 February 2016 Printed Matter’s LA Art Book Fair The Geffen Contemporary at MOCA, Los Angeles (US) 4 — 6 March 2016 Launch Antwerp Research Institute for the Arts (ARIA) 3 days of lectures, discussions and performances, Valiz pop-up bookshop with Pascal Gielen, Sander Bax, Guy Cools, Nico Dockx, Rudi Laermans Thijs Lijster and many others Stadsfeestzaal, Antwerp (BE) onderzoeksgroep/aria/overons/missie/

April 2016 Programme on art criticism with Thijs Lijster, Spaces for Criticism Boekmanstichting, Amsterdam (NL) 22 April 2016 Presentation In-between Dance Cultures With Guy Cools Dampfzentrale Bern (CH) 22 — 24 April 2016 Libros Mutantes Art Book Fair La Casa Encendida, Madrid (ES) 20 — 22 May Offprint Art Book Fair Tate Modern, Turbine Hall, London (UK) June 2016 I Never Read Art Book Fair Basel parallel to Art Basel (CH)

5 February 2016 Book launch In-between Dance Cultures With Guy Cools Sadler’s Wells, London (UK)

19 March 2016 Book launch Spaces for Criticism With Thijs Lijster, Roos van der Lint and others West Den Haag, The Hague (NL)

USA/CA/Latin America D.A.P.,

–China and Hong Kong: Edwin Chu, –France, Switzerland and Walloon Belgium: Sébastien Richard, –Germany and Austria: Kerstin Heyen, –Japan and Asia: Julie Onishi,

–Russia, Africa: Tony Moggach, –Scandinavia: Anna Eriksson, –Southern Europe: Bookport Associates,

© Valiz, Amsterdam / Trancity, Haarlem, artists, authors, designers, 2016 All rights reserved.

All contents and prices can be subject to change!

12 February 2016 Presentation Ulay: What Is This Thing Called Polaroid? Art Rotterdam (NL)

Europe/Asia/Australia Idea Books, Representatives or distribution partners Idea Books –Australia and New Zealand: Robyn Ralton, modernjournal@

Letraset/Pickup; Helvetica 10mm + Largo 8mm Paper: Arcoprint Milk 100 grams Printing: Ten Brink, Meppel

Individual orders,

Website is now being revised:





grafie gn


ISBN 978-94-92095-14-5

9 789492 095145

Marion von Osten, Once We Were Artists: A BAK Critical Reader in Artists’ Practice Tom Holert and Maria Hlavajova (eds.) With BAK, basis voor actuele kunst, Utrecht, 220 pp, paperback (otabind), 16,5 x 11,5 cm (h x w), ENG, April 2016 Design: Kummer & Herrman NUR 651, 642, ISBN 978-94-92095-14-5 € 19,90

Escaping easy categorization, Marion von Osten (1963) is an artist as much as a curator, an organizer-facilitator as much as a theorist, a teacher as much as an editor. This forthcoming BAK reader aims to offer a critical mapping of von Osten’s work. It seeks to chart a practice that, in spite of von Osten’s undisputed influence and importance in contemporary art and knowledge production has, until now, not been surveyed and analyzed in any thorough way. The book anthologizes commissioned essays (as well as three in-depth conversations) on various aspects and fields of von Osten’s holistic practice—one which is in essence collaborative and process-oriented—revolving around issues of feminism, economic theory, education and (post) coloniality. Contributions: Kader Attia; Sabeth Buchmann & Judith Hopf; Diedrich Diederichsen; Tom Holert; Brian Kuan Wood; Isabell Lorey; Angela McRobbie; Peter Spillmann; Marina Vishmidt; and Tirdad Zolghadr

Marion von Osten, Once We Were Artists is the second in the BAK Critical Readers in Artists’ Practice Series. In parallel to BAK’s acclaimed series of Critical Readers in Contemporary Art, this publishing line examines the practice and body of work of a key international contemporary artist through a range of critical essays written by curators, art historians, theorists, critics, and artists.

9 789078 088943

ISBN 978-90-78088-94-3

ISBN 978-90-78088-94-3 € 24,00

9 789078 088783

ISBN 978-90-78088-78-3

ISBN 978-90-78088-78-3 € 24,00

BAK co-published with Valiz: Critical Readers in Contemporary Art

Ulay What Is This Thing Called Polaroid? Frits Gierstberg, Katrin Pietsch



Valiz Foundation Nederlands Fotomuseum



Ë™ H A T






PO L A 67

Ulay, What Is This Thing Called Polaroid? focuses on the unique nature of Polaroid photography and the intimate relationship that the artist Ulay developed with this medium. Ulay has been exploring and stretching the possibilities of Polaroid since the 1970s, which resulted in radical and groundbreaking work. For him the unique and immediate character of each Polaroid photograph was, and still is, a perfect match for his performance and body art. The

Ulay, China Ring, 1987 Polaroid/Polacolor, New York Studio








Elucidates how the medium Polaroid works and how Ulay uses it

experiments that Ulay conducted even led him to start working inside the large format Polaroid camera, radically merging the body of the artist with the body of the camera while the image is being created.

128 pp, paperback (otabind), 22,6 x 17 cm (h x w), ENG January 2016 Design: Haller Brun NUR 642, ISBN 978-94-92095-13-8 € 19,90 ISBN 978-94-92095-13-8

9 789492 095138

Also available Whispers: Ulay on Ulay ISBN 978-90-78088-72-1 € 35,00 Whispers: Ulay on Ulay is supported by Mondriaan Fund, Prins Bernhard Cultuurfonds

–AICA Award 2015 –Best Dutch Book Designs 2014 9 789078 088721

Ulay, JOY, 2015 A series of 100 unique Polaroids, Fujifilm Instax Wide Especially made for Rabobank

ISBN 978-90-78088-72-1



BIO Ulay (pseudonym of Frank Uwe Laysiepen. Solingen DE 1943) was trained as a photographer. Between 1968 and 1971 he worked extensively as a consultant for Polaroid. In the 1970s and 80s he explored the notion of identity in both (Polaroid) photography and performance. From 1976 to 1988 he closely collaborated with Marina Abramović. In recent years, Ulay has been engaged in artistic projects that raise questions on e.g. marginalized individuals, on national symbols and on the importance of water. Although primarily working in photography, Ulay still strongly links to the ‘performative’, through lecture-performances and workshops.

Published by Valiz Foundation, Amsterdam with Nederlands Fotomuseum, Rotterdam Supported by Rabobank Nederland

Ulay, Self­Portrait, 1990 Polagram, Boston Studio, USA

This book provides insights on Ulay’s artistic pursuits with Polaroid and also explains the historical background of Polaroid, technical innovations, the specific chemical processes, and the challenges of conserving Polaroid prints.

Creating Value Radical Perspectives from the Arts Maaike Lauwaert, Francien van Westrenen (eds.) ‘We know what things cost but have no idea what they are worth’. Tony Judt The prevailing ways in politics, banking, producing food, running organizations, building, and striving for ever more growth and profit, are beginning to show cracks. The biggest problem lies in the fact that value is mainly measured in economic terms of time and money.

Reto Pulfer


Value as a non-economic notion is one of the hardest concepts to tackle. As it is immaterial, value is one of those core concepts that shape society, influence hearts and minds but defy an easy definition. To reformulate value as a constituting factor in an open and caring society requires a ‘tilting vision’. This fresh, upside-down perspective can be found especially amongst artists, including architects, writers, musicians, designers, playwrights and poets. This book presents ten alternatives to regain personal power, find inspiration, shape a better environment, share energy and creativity, and build on a vital and just society. The authors propose to place values such as hesitation, care, giving and disconnection at the centre stage in order to reclaim value from the logic of capital. These ten alternatives are put forward in an anthology of texts by architects, philosophers, scientists, historians and economists. A selection of images and three artist’s contributions are included to inspire the reader to rethink the scope and language of the current value system. The ten ‘rules’ of value creation form the start of a new vocabulary to think and talk about what has value and how value is created. With a selection of texts by: Walter Benjamin, Franco ‘Bifo’ Berardi, Michel de Certeau, Anthony Huberman, Charles Jencks, Siegfried Kracauer, Jan Ritsema, Viktor Shlovsky, Jan Verwoert and many many others In cooperation with Stroom Den Haag, Supported by Stichting Doen, Gemeente Den Haag ca 290 pp, paperback, ca 24 x 17 cm (h x w), ENG, June 2016 Design: Elisabeth Klement & Laura Pappa NUR 646, 656, ISBN 978-94-92095-00-8 € 19,90

Freek Lommee

ISBN 978-94-92095-00-8

9 789492 095008

Krijn Giezen

Richard Buckminster Fuller

Krijn Giezen


Creating Value Radical Perspectives from the Arts With work by: Atelier van Lieshout, Navid Nuur, Reto Pulfer, Yona Friedman, John Habraken, Thomas Lommee, Mierle Laderman Ukeles, Frank van Klingeren, Cedric Price, Lina Bo Bardi, Wendelien van Oldenborgh, Richard Buckminster Fuller, and many many others

Mark Manders

What’s the Use? Constellations of Art, History and Knowledge A Critical Reader Nick Aikens, Thomas Lange, Jorinde Seijdel, Steven ten Thije (eds.) how do we understand art’s possibilities to know the world? Is art only art insofar as it refuses to be useful? Or do art practices serve a broader purpose? We are in an age that has seen the re-drawing of boundaries between state and civil society, with boundless markets, unstable geopolitics and the all-pervasive effects of the Internet. Within this, how do we understand art’s possibility to know the world, to develop our ethics, to express our sense of historical belonging and to be, in different ways to different people, useful? What precedents from the past, practices today or protocols for the future might help to negotiate these questions? What’s the Use? Constellations of Art, History and Knowledge takes as a starting point the premise that art is an integral part of the social, economic and political process and that it is best understood in its dialogue with the social sphere than as a ‘thing in itself’. Viewed through a common lens that exposes the complex interplay between art, use, knowledge and history, the reader attempts to map a diverse terrain of examples and ideas. The contributing What’s the Use?

Practicing Art, Knowledge and Use

What’s the Use? Constellations of Art, History and Knowledge

A Critical Reader

Alexandra Pirici & Manuel Pelmuş

Fig 4 Alexandra Pirici, If you don’t want us, we want you, 2012, sculptural addition to the Monument of Revolution, Bucharest

Public Collection of Modern Art

writers and artists seek to demonstrate how in Public Collection moves toward building history and in contemporary practice the Actualizing up a more specific immaterial collection exchange between art, knowledge and use of artworks, events, and manifestos that is relate to the history of modernity and which History the out. also leak into the present (fig. 1 and 2). set-up and in played

Living Body as

Public Collection is more than a collection of translations, however. The enactments

become new works brought into existence The reader is both propositional and by living bodies/human material. Previous Subject-Objectdeliberately speculative—and inconclusive. It artworks are used as starting points. Yet they sometimes also evolve into formally different is Alexandra structured in three parts, which reflect the Pirici constructions, situations, or actions in the of trying to function along the same main fields of inquiry ofprocess this book. Chapter 1: lines, maintain the same course, or produce experience (fig. 3). Thinkingbetween of what Constellating History tracesa similar the exchange embodiment produces within the museum space and thehistorical exhibition ritual, we could maybe trace art, use and knowledge in practices, some links to art, use, knowledge, and history. theories and movements; Chapter 2:of minimum Art Practice: To begin with, the use means— human bodies alone—attempts to downscale Considering Knowledge and Use explores how and de-monumentalize history by reconstructing it on a human scale.the This practice draws on artistic knowledge is used and artistic use a former one of mine, which I still continue, of embodying at public monuments (fig. 4 and of knowledge through looking specific 5). One of the aims of this process is to practices and via artistic question contributions; the monument’s symbolic function, and détournement and its confrontation with 3: Exhibiting and Institutingits discusses how questions the human scale. There is a sort of ‘reality check’ where reality is not seen as a realm of of art’s use or uselessness implicate existence fundamentally opposed to the virtual or symbolic. Reality is instead that which is exhibition and institutional practice today. already manifest in—not projected onto—the world; it is a ‘ground’ which, however, is never a sort of correspondent to a tabula rasa. In a similar but less confrontational manner, these enactments of sometimes ‘monumental’ artworks in the gallery space aim to bring the living work both in tension and in alliance with the reference—these can be homages as much as a somewhat critical reconstructions. On a more general level, the performers claim (parts of) art history for the present: they actualize it and bring it back into flux. The performers allow the present to remember history in a subjective and playful way, providing access through manifesting history in their bodies. Still or in action, these bodies invite the viewer to think of art history differently, as a living, porous, changing entity rather than an

What’s the Use? A Critical Reader is a strand of thinking within the five year programme The Uses of Art ‘The Legacy of 1848 and 1989’ by the museum confederation L’Internationale, drawing on three exhibitions (at the Van Abbemuseum and Presented in the Confessions of the Imperfect exhibition at the Van Abbemuseum, Public Museo Reina Sofia) and one conference Collection of Modern Art is structured on the basis of a ‘public collection’. The work is an (Hildesheim University) held between 2012-2014. ‘immaterial’ collection of artworks enacted by performers that refer to the museum’s history as a public institution whose cornerstone is its ‘material’ collection.


Pirici & Pelmus


What’s the Use?

Practicing Art, Knowledge and Use

Alexandra Pirici & Manuel Pelmuş

Public Collection of Modern Art

Practicing Art, Knowledge and Use

Notes to chapter 1: Newspapers from the 1970s EINDHOVENS DAGBLAD Saturday 3 November 1973 THE BAR AS DOCTOR’S WAITINGROOM

‘t Karregat: purely an object for use No-one owns anything here, but…

Everyone experiences a lot


If after completion of the building it turns out that the classes suffer from each other’s noise, it seems that an acoustic accommodation can be easily realized. On the streets In the Middle Ages a significant part of life took place on the street. In ‘t Karregat we experience exactly that. As it appears to us now, the building doesn’t strike us as an

Wendelien van Oldenborgh

With contributions by

Beauty and the Right to the Ugly

experiment, despite its experimental character.

DE VOLKSKRANT Saturday 9 March 1974

in which about 200 people are active.

In this covered public space, some people will have to experiment with themselves first, since they will have to overcome a certain alienation from everyday things. To experience normal things in a human way, is unfortunately not a given for everyone. ‘t Karregat can be a help in that. And this cannot be said of each space or building.

‘t Karregat is a dangerous building

The women have to attend the meetings in the evenings and that raised the simple question: Who is staying with the kids tonight? And because of these many work teams where the conduct was very informal, the closed family unit has been challenged.

Social worker Nico van der Spek:The building has brought latent conflict to the surface. The building has caused a number of things. In a very short time some twenty voluntary teams were formed,

Families started to interfere with each other. A family problem has become a neighbourhood problem and so a very strong social control has developed. Ach, in essence, the problems which occur everywhere in society are expressed through this building. There is nothing against all these conflicts, if you learn how to dominate them.


Published in cooperation with Van Abbemuseum, Eindhoven, & University Hildesheim, Supported by the Mondriaan Fund,, European Union/Culture Programme

Li Mu Wendelien van Oldenborgh Travor Paglen Manuel Pelmus Alexandra Pirici Laurie Jo Reynolds Adrian Rifkin John Ruskin Lucía Sanromán Catarina Simão Sara Stehr Subtramas Steven ten Thije WHW (What, How & for Whom) Stephen Wright George Yúdice

Nick Aikens Zdenka Badovinac Manuel Borja-Villel Tania Bruguera John Byrne Jesús Carrillo Christina Clausen constructLab Tamara Díaz Bringas Georges Didi-Huberman Charles Esche Annie Fletcher Lara Garcia Diaz Liam Gillick Jeanne van Heeswijk Alistair Hudson Thomas Lange

What’s the Use?

496 pp, paperback, 24 x 17 cm (h x w), ENG, April 2016 Design: George & Harrison, NUR 651, ISBN 978-94-92095-12-1, € 27,50

Practicing Art, Knowledge and Use

Jeanne van Heeswijk

Free House


Those who look at neighbourhoods in large cities solely through a financial lens (with economic indicators) might only see backwardness, poverty, crime, and other threats. The Afrikaanderwijk Cooperative, however, sees the advantages of a diversity of cultures, inhabitants, and shopkeepers, each with their own talents, knowledge, and skills. Based on a long-term Freehouse presence in the area the Afrikaanderwijk Cooperative knows the power of local communities and small organizations in which open learning and work go together. In 2014 Freehouse decided to hand over the task of collective production to to a custom-made organizational form: a cooperative on the scale of a neighbourhood. An umbrella organization that brings together workspaces with shopkeepers, local makers, social foundations, and the market organization.

FREEHOUSE IN THE AFRIKAANDERWIJK 2008 – 2014 Freehouse renegotiated various urgencies in the area and created urban unions. New forms of commonality came into being through setting up chains of collective production. A process of social, economical, and cultural activities that moved on several scales and made the different informal practices of the everyday emergent, while re-rooting them into stronger networks. It was called Radicalizing the Local. By creating conditions for collaborative production, it allowed individual makers to pool resources and legitimize their informal businesses. The work on knitting stronger networks into urban unions and its cultural capabilities necessitated a new organizational (and economical) form on the scale of a neighborhood rather than that of interest groups.

The cooperative creates opportunities through the provision of skill-based labour, training, services, and products to enhance the self-organizing ability while trying not to waste talent and human capital. It stimulates sustainable local production, cultural development, knowledge exchange, and entrepreneurship, combined with shared responsibility and participation. The result is a self-organized and self-run body that continues to create local, self-produced economic opportunities, leverage political power to shift policy, and negotiate economic advantages. It also develops local skills and self-certifications, strengthens resilient intercultural networks, and tries to create a radical form for self-governance of an area and reinvest profits directly into the local community.








CERTIFICATION CO-OP (education, training, etc.)





(energy, neighbourhood services, etc.)




(shops, organizations, foundations, etc.)

MEMBERS (youngsters)


The extraction of financial capital for social, intellectual, affective values. Top: normal situation, outward spiral. Bottom: desired state, inward spiral. Aetzel Griffioen |







Later in 2016 also available as E-Book! Check our website or L’Internationale’s



culture, craftmanship, action, enterpreneurial, profit, conflict, work, collective, demonstration, information

DEVELOPED SPACE, SERVICES, AND COLLABORATIONS The Afrikaanderwijk Cooperative applies a self-organized approach in order to make use of all the currently untapped talents and resources that are present in the neighbourhood. Since the start in 2014 it set up several services and activities to generate work, space, and stipulate cost-effective deals for its members. The various activities can be categorized in space, services, and collaborations. energy collecTive

- service

In cooperation with Essent the Afrikaanderwijk Cooperative launched an energy collective that realizes substantial savings for businesses in the neighbourhood. At present the first businesses have signed a collective energy contract in

order to save operating costs. Simultaneously the cooperative also examines how to supply individual households so more people take advantage of collective buying power. schoon

- service

Cleaning service schoon ensures that cleaning work that normally is outsourced to companies elsewhere is ‘insourced’ and carried out by members of the WORKERS CO-OP. The Afrikaanderwijk Cooperative facilitates new jobs and guides starters entering the job market. Currently SCHOON is commissioned by Vestia Feijenoord to clean housing block vestibules in the neighbourhood.


& anders - collaboraTion

In the upcoming years Laurens living and care centre Simeon and Anna transforms from a building solely for the elderly, to a place where different groups live together on a reciprocal basis. Called Samen & Anders, it will also house small-scale shopkeepers that serve both inhouse residents, neighbours, and passersby. The cooperative develops the details and tests partnerships for this new care concept. home cooks feijenoord

- collaboraTion

Co-op member the Neighbourhood Kitchen and DOCK Feijenoord set up a meal service for elderly, sick, and disabled people. In Home Cooks Feijenoord professionals and volun-


Jeanne van Heeswijk


teers prepare meals in people’s homes. Healthy food, talent development, and combating loneliness go hand in hand. As project partner the cooperative provides management assistance and Het Gemaal as location for communal dinners. a neighbourhood common

- space

Het Gemaal (an old pumping station transformed into a restaurant) is turned into a public place for the neighbourhood. A place for meetings, where presentations and production come together. With committed users, as the Neighbourhood Kitchen and several partners that pay rent, it is ensured that this significant building is free as a central location for local programming activities and knowledge sharing.

9 789492 095121

Wendelien van Oldernborgh

What’s the Use?


ISBN 978-94-92095-12-1


Pirici & Pelmus

Fig 1 Alexandra Pirici & Manuel Pelmuş, Public Collection of Modern Art, 2014. Enactment of Luncheon on the Grass by Edouard Manet, 1862-1863

Drie ‘gewone’ wijken in Tilburg, Breda en Roosendaal staan centraal in dit boek. ‘Gewone’ wijken, geen rijke wijken, maar ook geen probleem- of aandachtswijken. ‘Gewoon’ omdat bewoners zelf in staat zijn hun dagelijks leven op orde te brengen, zich weten te verhouden tot hun buren en voorkomende problemen zelf oplossen. Dat geeft hun een ander perspectief op de wijk dan professionals, zoals welzijnswerkers, corporatiemedewerkers en beleidsambtenaren. Soms leidt dat tot een breuk tussen de alledaagse en institutionele werelden met verstrekkende gevolgen. Overheidsbeleid doet soms meer kwaad dan goed omdat het geen rekening houdt met de zelfredzaamheid van bewoners. Professionals willen graag behulpzaam zijn, maar hun ingrepen ontnemen bewoners soms hun eigen middelen en instrumenten. Hun werk vraagt om een serieuze herbezinning van doel en middelen. Dit boek beschrijft op een directe manier het dagelijks leven in Theresia in Tilburg, in

Een inspirerend boek voor stedenbouwkundigen, lokale politici/ambtenaren en professionals in de sociale sector. BIO De auteurs zijn verbonden aan de NHTV, de Hogeschool in Breda. Samen met studenten van de afdeling Urban Design deden zij het onderzoek en verwerkten dat tot dit boek. Geïllustreerd met foto’s en kaarten van de geplande en de geleefde stad, gemaakt door de studenten NHTV. Boekpresentaties in de drie wijken en een landelijke studiebijeenkomst in Pakhuis De Zwijger in Amsterdam. ENGLISH De waarde van het alledaagse [The Value of Everyday Life] takes a look at the vitality and selforganization of local residents, taking as its starting point daily life in three existing Dutch neighbourhoods, each with their own history and urban development background. Government policies often do more harm than good here, as they do not take the residents’ own coping ability into account. This book advocates a different urban policy, one that shows more faith in the strength and vitality of local residents. Text only in DUTCH Ism NHTV Breda en Bureau 77 in Tilburg; mede mogelijk gemaakt door de provincie Noord Brabant 176 pp, paperback, 23 x 17 cm, NED (only in Dutch), April 2016 Design: Coppens & Alberts NUR 758, ISBN 978-94-92095-16-9 € 19,50

9 789492 095169

Pleidooi voor minder overheidsingrijpen en voor meer vertrouwen op de vitaliteit van wijken en hun bewoners.

Brabantpark in Breda en in Kortendijk in Roosendaal. Drie wijken uit drie perioden van onze stedenbouw (vooroorlogs, vroeg-naoorlogs en jaren zeventig) staan symbool voor de meerderheid van de Nederlandse stadswijk. Het beschrijft hoe je kwalitatief onderzoek (d.w.z. praten met burgers) doet en het is een radicaal pleidooi voor een ander stedelijk beleid.

ISBN 978-94-92095-16-9

De waarde van het alledaagse Van beleidsdrang naar bewonersperspectief in de stadswijk Peter Beijer, Ellen de Groot, Jolanda Hoeflak, Vincent Platenkamp


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trancityxvaliz Simon Franke Pia Pol Astrid Vorstermans


OP E—ISBN 978-90-78088-53-0

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RP = reprint OP = out of print

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Price Antennae € 19,50 — € 19,90

E—ISBN 978-90-78088-75-2

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Binational Urbanism

On the Road to Paradise

ISBN 978-94-92095-06-0

Bernd Upmeyer

ISBN 978-94-92095-05-3


9 789492 095053

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01. De uitvinding van de leeszaal

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02. Het nieuwe stadmaken

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03. Binational Urbanism E—ISBN 978-94-92095-06-0 € 22,50

NL—ISBN 978-90-78088-90-5 € 19,50, almost OP

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05. Farming the City ISBN 978-90-78088-63-9

06. We Own The City E—ISBN 978-90-78088-91-2 € 27,50

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07. Stedelingen veranderen de stad NL—ISBN 978-90-78088-82-0 € 15

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04. Pioniers in de Stad

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Trancity en Valiz vinden elkaar in een gemeenschappelijke opvatting over de functie van publicaties. Onze boeken bieden kritische reflectie, zorgen voor interdisciplinaire inspiratie en leggen het verband tussen culturele disciplines en economische en sociaalmaatschappelijke kwesties.

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Trancity and Valiz share a common understanding regarding the function of publications. Our books offer critical reflection, interdisciplinary inspiration, and establish a connection between cultural disciplines and socio-economic questions.

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