The first phase of De Fluyt en de Hoi will turn Rib inside out with the renovation of the ground floor by architect and urban planner Julian Lewis, co-founder of East Architecture in London. In the material language of a Rotterdam street, the outside will be brought into Rib’s space as a physical and symbolic act initiating the programme’s intention to reach outwards to Charlois’ social environment. Lewis will offer a talk, discussing his participation at Rib in the context of his own practice.
He will discuss the way in which public aspects of the city are essentially uneven, place-specific, and open when successful, despite being often conceived in generic ways around pre-determined genres and outcomes. Previous projects and his participation in De Fluyt en de Hoi will illustrate these ideas.
Lumps of concrete resist car wheels bumping against pedestrian territory; a drain signals the municipality’s role servicing underground; flexibly laid concrete flags are sized to be lifted and laid by a single person easily, are textured against slipping, placed in a pattern partly defined by the geometry of the unit and partly defined by a notion of the extending city territory; fallen yellowed leaves indicate trees nearby and dramatically highlight the seasonal life of maintenance at the gutter, where all unwanted material is directed by the camber of the carriageway; the diagonally laid clay setts are sized smaller to resist cracking under heavy moving vehicles, while allowing drainage through the cracks to keep water in the subbase for longer.
This scene takes place on a Charlois street and is remarkably beautiful in its representation of change. All of it offers benefits as well. It does not, however, add up to constitute a public realm, which requires other conditions to invite public social access and promote social vitality, including the agency of ideas.
Right before the summer of 2019 Antanas Gerlikas spent an afternoon walking the brown spotted Charlois resident Dalmatian Rex and the black spotted city centre resident Digsby through Het Nieuwe Instituut, Institute for Architecture, Design and Digital Culture, and several furniture design shops, a cargo ship, a parking lot and other man made structures.
The resulting film titled A Walk (2019) is a site-specific follow-up of the earlier A Walk (2011) shot in The Latvian National Museum of Art with a greyhound. The film will be on view at Rib until the end of the year and becomes part of the temporary infrastructure of De Fluyt en de Hoi developed by Paul Elliman.
The Tide and Current Taxi is a rowboat taxi operated by the artist Marie Lorenz. Each trip coincides with strong tidal currents and is documented online. The Tide and Current Taxi has operated since 2005, using small plywood boats designed and handmade by the artist, and provides an unexpected view of the New York harbor. The boat and passengers become part of the landscape, floating with the tide, disconnected from routine to create something new out of something familiar. Understanding how the tide works can unlock secret geographies; the city becomes a shifting network of passages, the interaction of manmade and planetary forces.
In July 2019, Marie Lorenz built a new boat in Rib, where it will be displayed until the end of 2019 as part of De Fluyt en de Hoi. In 2020 she will return to navigate the tides through the port and canals. The project’s representation online will draw parallels between ancient tidal networks and new digital pathways. It will bring the mystery of exploration into physical space, to engage participants whether they are seeing the boat in the gallery or following the web-log at their computer.
The Liquid Reader Street Sessions involve an open-air study-trajectory and syllabus that Hamadeh will be designing and activating as part of Opaque Justice: A Dialectics of Rerouting—a ‘playground’ dedicated to the practice of ‘testimonial life’ in the place of legal subjecthood. The upcoming session will be the first of four walks organised in collaboration with Rib, Rotterdam. It will include an eclectic reading of works around desire, translation and errantry, alongside readings of shop windows, car numbers, pigeons and the weather.
Opaque Justice: A dialectics of Rerouting both evokes and diverges from Édouard Glissant’s phrasing in his book Poetics of Relation (1990) in order to think of an ‘ethics of justice’ that is neither inscribed in, nor predicated upon, structures of property and ownership. For Glissant, opacity is the foundation of a relation that recognises the irreducibility of singularity into a universal model. As he notes, to live in relation—a disindividuated relation—is to return to the opacities that “ … produce every exception, [are] propelled by every divergence, and live … with the reflected density of existences.” Glissant’s use of the word ‘détournement’, translated into English by translator Betsy Wing as ‘rerouting’ (rather than ‘detour’), invokes incessant movement in search of relation, or, better say, a movement that is constantly manifesting itself of and in relation. The translated term, ‘rerouting’, according to Wing, implies an ‘active change of direction, but also a ‘turning away, or aside in a redirection of, or in refusal to direct attention’.
The first edition of the iterative project Opaque Justice: A Dialectics of Rerouting was launched in May 2019 at silent green Kulturquartier, Berlin as the 24th edition of Dutch Art Institute’s (DAI) Roaming Assembly—a recurring public symposium functioning as the ‘centerfold’ event at DAI’s Planetary Campus. It encompassed contributions by Ramon Amaro, Layal Ftouni, Ayesha Hameed, Sebastian de Line, Renée Ridgway, WALTER books and the participants of the Justice Economy: Dramaturgies of Debt and Indebtedness Factory workshop, led by Hamadeh, also in the context of the Planetary Campus. This ‘reader-on-the-move’, located in the residential south of Rotterdam, will scale down the level of public enquiry present in the first edition by putting into practice the incessant exchange of bodies and words, working with language and translation as an attempt to effect relations through movement.
Amsterdam-based flautist and sound artist Tatiana Rosa will explore the acoustic possibilities of the Rib building during a Amsterdam-based flautist and sound artist Tatiana Rosa will explore the acoustic possibilities of the Rib building during a four-day residency in the space. Taking as a starting point the aerodynamic connection between the Dutch Fluyt, a 17th-century cargo ship and the flute, the artist will focus on exploring the potential flute acoustic of the Rib building by amplifying and manipulating the wind frequencies in and around the building itself and bridge these elements with the sound world of the Rotterdam harbour.
The result of this exploration will come to life in four live events that will happen during a period of sound and movement experimentation in the space, exploring with voice, pipes and other materials, the acoustic possibilities available from the perspective of a sound designer, instrument maker and flautist.
Embodying Rib #1 | Sound Installation
On the first day, Tatiana Rosa will be exploring the sound sources offered by Rib by means of recording and transforming the soundscape of the building itself and its surrounding space. At 17:00 doors will open for people to experience the amplification and transformation of this sound material inside the gallery space and witness the results of the research led that day.
Embodying Rib #2 | Guided sound/movement interaction with the space
On the second day, Rosa won’t focus on the sounds that are produced by the building itself but on exploring how to produce new sounds with what the building has to offer. Having in mind the geographical context of the space, great part of this research will connect with the sound of the wind and how that can be transposed to breath, pipes and flutes. At 17:00 doors will be open for a guided sound/movement interaction with the space.
Embodying Rib #3 | Lecture/performance
The interventionist flute by Frans-Willem Korsten and Tatiana Rosa
On the third day, Rosa will be accompanied by Frans-Willem Korsten who will perform a script he has developed for this event titled The interventionist flute.
Embodying Rib #4 | Performance by Tatiana Rosa
Tatiana Rosa will do a small performance around the work and research developed from her residency at Rib. This performance will focus on Rib’s intrinsic and extrinsic qualities as an instrument in itself and the relationship established between the space and a human body. By the end of the performance there will be a designated time for Q&A around the performance and the work developed during the residency.
A Fragrant Garden will slowly evolve within the neglected L-shaped public space surrounding the basketball/football court in Gouwplein in Rib’s back yard.
With entrances at the playground behind Rib and at Schilperoordstraat, the garden will subtly draw visitors along the pathways to discover an inviting space for the senses. Initial autumn planting will include flowers, berries and trees that unobtrusively cohabitate with existing plants. Leaving space for growth and for community involvement over time, this initial gesture is to create an accessible, friendly and inviting space.
Cor van Gelderen from the nursery Plantentuin Esveld in Boskoop made a beautiful plan for starting a garden that is bee-friendly, colourful, fragrant, partly edible, semi-native, and seasonal. Inside Rib a scrapbook documents the process and seasonal changes of the garden.
Specialised in breeding the Twa Twa songbird, Dutch songbird champion and member of several important Surinam songbird associations in the Netherlands, Suniel Chedie will give us insight into Surinam songbirds, their origin and evolution and an insider look into the history and current practices of Surinam songbird competitions in the Netherlands and beyond.
Depending on the region where they originate, all songbirds have their own beat (song), also called “boesh” beat. A boesh beat is often a long tune. What makes these birds so special is the fact that not only does each bird have its own unique song, but one can also teach these birds an entirely new song, depending on the species and type. The learned tune types are for the Twa Twa: Ring-stroke and Kiauw-stroke (kiauw-stroke is the elite stroke and the most difficult), for the Picolet: Pije-Pije, for the Rowties: Weed-Weed, and for the Gelebek: Swaay-Swaay.
This month artist Paulien Oltheten started with an inventory of her work from the past 15 years: videos, texts, photos and drawings. Her idea is to make an inventory because she starts to lose the overview. She has already noticed that during the first steps of cleaning up and sorting there are a lot of untold stories and anecdotes lying between the stacks, leaflets, objects and scriptures. She will make a structured overview of the archive and enumerate it in inventory lists, but she has her doubts as to whether she can or should categorize her work. And if so, how then?
During this evening she leads the audience through the first finds from her archive and the corresponding considerations. An associative story arises in which story, matter, form and structure blend together.
As one of the last contributing artists to De Fluyt en de Hoi, Oltheten’s presentation will also help us to think about the futurity of one’s year long institutional program as a whole. What is its afterlife? When does its production stop? Where do we trace continuity? After the presentation Oltheten will exhibit a selection of her photographs and prints from her archive in our space until the end of 2019. From 2020 documentation of this presentation can be found in our developing library.
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: Ezekiaat 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.
Paulien Oltheten studied at the Rijksakademie, Amsterdam, and in 2013 she was a resident artist at ISCP, New York. In 2017 she worked at Cité des Arts in Paris. Performances include: PAC Milan (2018); Jeu de Paume, Paris (2017); De Buren, Brussels (2016); Fondatione Ratti, Como (2015); KW, Berlin (2015); NCCA Moscow (2015); Helmhaus Zurich (2015); IDFA Documentary Film Festival Amsterdam (2014); Stedelijk Museum Amsterdam (2014); Vera List Center New York (2013); De Brakkegrond Amsterdam (2011); SMBA Amsterdam (2007). Exhibitions include: Les Rencontres de la photographie d'Arles (2018); Where do we go from here, Annet Gelink/Ellen de Bruijne Gallery, Amsterdam (2017); The measure of our travelling feet, Marres (2016); Paulien Oltheten & Anouk Kruithof, Stedelijk Museum Amsterdam (2014); Off Walking, MoCP Chicago (2013); Desire Lines, ACCA Melbourne (2013); It's my imagination you know, Gallery Fons Welters Amsterdam (2012); Walk on a line…, Nederlands Fotomuseum, Rotterdam (2011); Kitbag questions, Dvir Gallery Tel Aviv (2011); De Volkskrant Beeldende Kunst Prijs, Stedelijk Museum Schiedam (2010); Portscapes, Boijmans van Beuningen Rotterdam (2010); Off the Record, Proposal for Municipal Art Acquisitions, Stedelijk Museum Amsterdam (2009).
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.