De Fluyt en de Hoi is a programme developed and guided by Paul Elliman, for which he has asked a group of artists to respond to his directive to explore the life of Rib’s building along with the Charlois neighborhood and the city surrounding it. Throughout the course of the year, the group will overlap and contribute collectively to the functioning of the building and its outer extensions as a developing social composition within and as part of its environment.
Based around a specific street address and what happens within and nearby, De Fluyt en de Hoi attempts to extend a motivating interest that Elliman shares with the participating artists, “that art can appear in the functioning form of any of those parts of the world that it might claim to be reporting or establishing a connection with”.
De Fluyt en de Hoi is supported by Gemeente Rotterdam, Mondriaan Fund, Prins Bernhard Culture Fund.
Suniel Chedie is specialised in Twa Twa breeding and learned song type “kiauw”. He actively participates in competitions since 1995. In 1996 he was the EuroMast champion Rotterdam for the first time with a breed named “Gorbatchov”. Between 2002 and 2016 he was champion and/or semi-champion at the RingMasters Bird Club Amsterdam and Dutch Champion in 2011 and 2012 in the Twa Twa-category. Chedie holds several managerial and advisory functions at various Surinamese songbird associations.
Paul Elliman (1961, UK) is an artist based in London. His work questions the role of language as a filter for economic productivity, following many of its social and technological guises, through which the languages of the body emerge as part of a direct correspondence with other visible forms and sounds of the city. His work has been exhibited internationally in many solo and group exhibitions, including Century City, the inaugural exhibition for Tate Modern, London, UK (2001), Unmonumental at the New Museum, New York, USA (2008); Ecstatic Alphabets at MoMA, New York, USA (2012) Body Alive with Signals at Objectif Antwerp (2014); As You Said at KW Institute for Contemporary Art, Berlin, (2017); and Beautiful World Where Are You? at Liverpool Biennial (2018). He is also participating in Post Opera, the current exhibition at TENT, Rotterdam, with a live performed work titled How we learn the old songs.
Antanas Gerlikas is an artist who lives and works in Vilnius, Lithuania. The main conceptual device of his oeuvre is the revisiting of the concept of a museum by looking at it from the perspective of an artwork and daily life. He considers an artwork as a semi-autonomous element dependent on the museum’s discipline: its spatial, temporal and ideological conventions, references, construction of history, etc. He is also interested in how these conventions are acted out in daily life. With this in mind, Gerlikas’ aim is to separate the value of an artwork from an institution (the museum) and to transfer it into some new forms of life by creating and recording the lives of these forms, discovering and shooting new shapes and structures of life.
Rana Hamadeh (1983, LB) is a visual and performance artist based in Rotterdam. Drawing on a curatorial approach within her artistic practice, she develops longstanding discursive projects that think through the linguistic, legal and performative infrastructures and technologies of justice. In 2011, she initiated her ongoing Alien Encounters Project, which has since been operating as an incubator for a growing series of cartographic/theatrical, sound and text-based works, examining systemic corporate and state violence and their enabling legal apparatuses. Since 2017, Hamadeh has been developing an ‘Operatic practice’, experimenting with writing and composing, and testing out models for collective thinking and study. Hamadeh is the recipient of the Dutch Prix de Rome, 2017. Her previous solo exhibitions include Kunsthalle Winterthur (2019), Witte de With Center for Contemporary Art (Rotterdam, 2017), The Institute of Modern Art (Brisbane, 2016), Showroom (London, 2016), Nottingham Contemporary (2015) and Western Front (2015) among others. Group exhibitions include a.o. Sonic Acts (Amsterdam), SALT (Istanbul), Momentum Nordic Biennale, the Moscow Biennial, the New Museum (NY), e-flux (NY), the 8th Liverpool Biennial, Wattis Institute (San Francisco), the 12th Biennale de Lyon, Lisson Gallery (London), and Van Abbemuseum (Eindhoven).
Julian Lewis (1961, UK) is an architect and urban planner, and co-founder and director of East, award winning architecture, landscape and urban design practice in London. He is interested in how places influence architecture and the designed public realm, and what role architecture can have in cities. Lewis is a member of several London Borough Design Review Panels, and one of the Mayor of London’s Design Advocates. He has been teaching and lecturing since 1992, having held a Diploma Unit teaching post at London Metropolitan University for 13 years. He was invited by Valentin Bearth as Visiting Professor at the School of Architecture in Mendrisio, Switzerland, and taught there from 2009 to 2011. Lewis is an Honorary Professor at the University of Nottingham Department of Architecture and Built Environment, and will act as External Examiner at the University of Cambridge Department of Architecture from 2019.
Marie Lorenz (1973, US) lives and works in New York City. Lorenz roots her work in exploration and narrative. In her ongoing project The Tide and Current Taxi, Lorenz takes participants through New York waterways in boats that she designs and builds, using tidal current to propel the boat. Recent solo exhibitions include Marie Lorenz: Ezekia at Albright-Knox Art Gallery, Buffalo, New York; Flow Pool at Recess Activities, New York; The Valley of Dry Bones at Jack Hanley Gallery, New York; Wanderlust at High Line Art; and Erie Canal at the Everson Museum of Art, Syracuse, New York—an exhibition about her month-long journey down the Erie Canal. Group shows include Providence at Musee International des Arts Modestes, Sete, France; Future Nature at Jack Hanley Gallery, New York; Public Works: Artists’ Interventions 1970s—Now at Mills College Art Museum, Oakland, CA; Arcadia: Thoughts on the Contemporary Pastoral curated by Steve Locke at Mills Gallery at the Boston Center for the Arts, Boston, MA. Residencies include International Artist-In-Residence at Artpace, San Antonio, Texas, and John Michael Kohler Arts Center, Sheboygan, Wisconsin. In 2008 she was awarded the Joseph H. Hazen Rome Prize for the American Academy in Rome. Lorenz received a BFA from Rhode Island School of Design and an MFA from Yale and is represented by Jack Hanley Gallery in New York.
Éléonore Pano-Zavaroni (1988, FR) is based in Lyon. Pano-Zavaroni organises situations based on encounters and postal exchangess—though her media might be equally clothes, speech, food, drink, and forms of transport. Her work establishes local and remote communities of shared thoughts and ideas, motivated by an interest in the values of community and friendship, and the potential of social over financial dynamics. Along with many others, Elliman has participated in Éléonore’s postal-service project Rendez-vous for the recent Villeurbanne/Rhone-Alpes IAC Biennial in Lyon, also called Rendez-vous.
Tatiana Rosa (1991) is a Portuguese audiovisual artist and flute player that has dedicated herself into developing multidisciplinary performances. Currently based in Amsterdam, she finished her masters degree in Live Electronics in the Conservatory in 2017. She has been regularly collaborating with dancers, actors and directors in the development of performances where she assumes the role of flutist, sound designer and visual artist. In her own creations she has been majorly dedicated in the development of works in which the musicians take a part in the theatrical expressions making use of movement, voice and electronic extensions. She’s a founding member of Trash Panda Collective, Queens of Noise and Ensemble mpmp.
Frans-Willem Korsten holds the endowed chair ‘Literature and society’ at the Erasmus School of History, Culture and Communication since 2007. He is associate professor at the department of Film- en Literary Studies at LUCAS – Leiden University Centre for the Arts in Society since 1998, and with the Piet Zwart Institute since 2013. He published Lessen in Literatuur (Lessons in Literature, 3rd edition 2009) and worked extensively on baroque theatricality with Vondel belicht (2006), All inclusive (2007), Sovereignty as Inviolability (2009) and as co-editor of Joost van den Vondel: Dutch Playwright in the Golden Age (2012). He edited several special issues of journals and published widely on literature, art and issues of capitalism, law and justice. He was chair of the section Letters of the Dutch Council of Culture and was member of advisory committees, with NWO and the Norwegian Research Council. He was responsible for the NWO internationalization program Precarity and Post-Autonomia: The Global Heritage, working together with Joost de Bloois (University of Amsterdam). Together with Yasco Horsman (University Leiden) and a number of PhD-students he is currently working on the role of literature and art at the limits of the law.