donderdag 12 maart 2026

Schaduwbal in The Unsafe House: a missed chance

ENGLISH BELOW

Vrijdag 13 maart, 2026, vond het Schaduwbal plaats, een avond over boeken als alternatief voor het ´officiële´ boekenbal zoals dat al jaren door de literaire cultuurindustrie georganiseerd wordt. 

Dit Schaduwbal wilde meer zijn dan louter een verkooppraatje voor de laatste literaire hype, zo is mij verzekerd door de organisatoren van The Unsafe House. Het is overigens een van de laatste events in hun onderkomen aan de Wenckebachweg in Amsterdam.




Het schaduwbal toonde op het eerste gezicht een keur aan gasten die aan de rand van het officiële literaire circuit rondhobbelen, een Arthur van Amerongen, illustrator en performer Gabriel Kousbroek, Rob Muntz, Adriaan Kuyper, Tunc Topcuoglu, Tijs van Bragt, Sina Khani zélf, natuurlijk, en anderen, omlijst door een muzikaal programma met dit keer o.a. MotortoasterDJ Vic van de Reijt en een performance van de nu al beruchte Kittens.

Verwacht hoogtepunt was de presentatie van het eerste nummer van The Unsafe Journal, een dik, Engelstalig, magazine, met veel bijdragen van schrijvers, dichters en essayisten, waaronder een open brief van Radio Neverno´s Hans Kuiper aan Ronaldo....Alleen lag dit dikke, nieuwe blad ergens in een hoek van de ruimte, terwijl een belangrijk deel van de literaire avond uit handen was gegeven aan de uitgeverij Ezo Wolf die vervolgens een onverstaanbaar aantal interviews met hún schrijvers ten leste gaven.

Ons inziens een gemiste kans voor Sina Khani en The Unsafe House om daadwerkelijk een inhoudelijk alternatief te geven, terwijl in het eigen netwerk zeer veel literair en anderszins getalenteerde mensen rondlopen. Er was zelfs geen officieel presentatiemoment voor het eigen Unsafe Journal weggelegd!

De hele avond was bij voorbaat al uitverkocht, begreep ik, maar als je lid wordt van de club dan kon je alsnog naar binnen, als je maar betaalde. Overal moest voor betaald worden, naast de obligate biertjes ook een bezoek aan de Kittens, die voor 10 euro een bizar tafereel opvoerden van een dame met een kunstmatige zeer grote vulva voorgebonden, waarschijnlijk van papier maché en beschilderd. Je kon vervolgens een gedicht kiezen dat de dame uit haar nieuwe edele deel trok. Ze had er drie gedichten in tamponvorm in gepropt en koos vervolgens er één, in dit geval bleek het een "racistische mop":

De tekst luidde als volgt:


"Racistische mop

What does a pig sound like?

Oink Oink

What does a French pig sound like? 

Oinque, Oinque

What does a Japanese pig sound like?

Oinh-huh! Oink-huh!

What does an American American (twee keer, ja) pig sound like?

Stop resisting!"

Een verwijzing naar de handelswijze vermoedelijk van de politie in menig VS-staat, voordat ze hun wapenmagazijn op je leegschieten. Een kritiek op de VS zowaar terwijl even later een, wederom, onverstaanbaar LIVE STREAM interview met de nu al onvermijdbare Curtis Yarvin viel waar te nemen.

 Waar de goede man het over had was werkelijk niet te volgen, mede door te veel keuvelend volk in de garage, die regelmatig tot de orde geroepen moesten worden door de ceremoniemeester Tarik Sadouma: "Quiet!"

De focus lag o.i. iets te veel op partying waardoor de inhoudelijke kant ondergesneeuwd raakte. Alleen Sina Khani, die een enorme prestatie leverde door samen met Hichem Touati zijn Unsafe Journal in korte tijd samen te stellen, vorm te geven en te laten drukken op een appetijtelijke wijze, wél even de aandacht wist te vangen van de drankzuchtige- en socialising menigte, door met snerpende stem een statement voor te dragen over zijn ándere publicatie ´Fart School´ dat hij jaren geleden al schreef met Tunc Topcuoglu. Hij claimt ál gecancelled te zijn in 2007 met dit magazine door docenten en anderen van de Gerrit Rietveld Academie waar hij en Topcuoglu studeerden: "Cancellation is of all times!!"

Uit alle hoeken en gaten van Amsterdam wisten allerlei types deze event te vinden, mogelijk door de samenwerking met de uitgeverij Ezo Wolf die een aantal ´bekende Nederlanders´ uit de hoed toverde, naast Arthur van Amerongen, die keihard blijft publiceren, ondanks dat de zelfbenoemde culturele wannabe elite hem blijkbaar niet lust. Hij is nu columnist bij Geen Stijl en schrijft o.a. vaak een provocerend stuk voor HP De Tijd, als ik mij niet vergis en dat alles vanuit Olhao, een rustig dorp in de Algarve in Portugal. Hij kan blijkbaar het Nederlandse culturele klimaat niet al te lang meer verdragen, wat ik kan begrijpen overigens.

Naast van Amerongen liepen er nog wat andere ´originals´ rond en mogelijk zelfs goede schrijvers, maar zoals hierboven geschreven waren hun interviews moeilijk te volgen. Wie niet moeilijk te volgen was, was een Amsterdamse volkszanger die professioneel het toegesnelde publiek op haar wenken wist te bedienen. 

Sina Khani had echter méér aandacht voor zijn eigen Mag mogen opeisen, een tijdschrift dat naast door relatief onbekende schrijvers ook bevolkt wordt door opvallend bekende namen uit allerlei hoeken van de cultuur, ook al komen ze niet allemaal rechtstreeks uit de literatuur of uit het Nederlandstalige cultuurgebied. 

Zo levert Diana Burkot van Pussy Riot een bijdrage, net als Mohsen Namjoo, door velen beschouwd als de grootste muzikant van Iran, en de Europese dj sensatie Droeloe. Ook cultlegende Harry Merry duikt op met een voorproefje van zijn nieuwe lyrische anthem, naast Eduard Padberg, NRC Handelsblad correspondent in het Midden Oosten, kunstenaar Wayne Horse, die onlangs nog een schilderij voor tachtigduizend verkocht, en Tarik Sadouma en Ruth Spetter, de oprichters van The Unsafe House. Verder bevat het boek bijdragen van Gabriël Kousbroek, zoon van voormalig bekend essayist Rudy Kousbroek en schrijfster Ethel Portnoy, van Oliver Uschmann, een van de bekendste Duitse schrijvers van de afgelopen twee decennia, en van Sofie Kramer, een rijzende ster in de theaterwereld, en zo ontstaat een bont cultureel gezelschap dat reikt van muziek en beeldende kunst tot journalistiek en literatuur.

Ondertussen is The Unsafe House druk bezig te verhuizen naar Amsterdam-Noord, waar een nieuw pand is aangekocht door financier en initiator Tarik Sadouma. Ook hij kan wat meer zijn eigen werk promoten, daar liggen in het, naar verluidt, 400m2 nieuwe gebouw toch genoeg mogelijkheden. We gaan het zien.


Hans Kuiper voor Radio Neverno.










ENGLISH


On Friday, March 13, 2026, the Schaduwbal or the Literary Shadow Ball took place in Amsterdam, an evening about books as an alternative to the 'official' book ball as it has been organized by the literary culture industry for years. 

This Shadow Ball wanted to be more than just a sales pitch for the latest literary hype, as I have been assured by the organizers of The Unsafe House. It is also one of the last events in their accommodation at Wenckebachweg in Amsterdam. 


The shadow ball showed a selection of guests hobbling around on the edge of the official literary circuit, an Arthur van Amerongen, illustrator and performer Gabriel Kousbroek, Rob Muntz, Adriaan Kuiper, Tunc Topcuoglu, Tijs van Bragt, Sina Khani, of course and others, framed by a musical program this time including Motortoaster, DJ Vic van de Reijt and a performance by the already infamous Kittens.


The expected highlight was the presentation of the first issue of The Unsafe Journal, a thick, English-language magazine, with many contributions from writers, poets and essayists, including an open letter from Radio Neverno's Hans Kuiper to Ronaldo.... Only this thick, new magazine was lying somewhere in a corner of the room, while an important part of the literary evening had been handed over to the publishing house Ezo Wolf, who then gave an unintelligible number of interviews with their writers. 

In our opinion, this is a missed opportunity for The Unsafe House to actually provide a substantive alternative, while there are many literary and otherwise talented people in its own network. There was not even an official presentation moment for their own Unsafe Journal!

The whole evening was sold out in advance, I understood, but if you become a member of the club you could still get in, as long as you paid. Everything had to be paid for, in addition to the obligatory beers also a visit to the Kittens, who for 10 euros performed a bizarre scene of a lady with an artificial very large vulva tied up, probably made of paper mache and stenciled. 

You could then choose a poem that pulled the lady out of her new private part. She had crammed in three poems in tampon form and chose one of them, in this case it turned out to be a self proclaimed racist poem: The text read as follows: 

"Racist joke.
What does a pig sound like? Oink Oink 
What does a French pig sound like? Oinque, Oinque 
What does a Japanese pig sound like? Oinh-huh! Oink-huh! 

What does an American American (twice, yes) pig sound like? Stop resisting!"

A reference to the actions presumably of the police in many US states, before they empty their gun magazine on you. A criticism of the US even while a little later a, again, unintelligible LIVE STREAM interview with the already inevitable Curtis Yarvin could be observed. <

What the good man was talking about was really impossible to follow, partly due to too many chatting people in the garage, who regularly had to be called to order by the master of ceremonies, Tarik Sadouma himself :"Quiet!"




In our opinion, the focus was a bit too much on partying, which meant that the substantive side was undercut. Only Sina Khani, who made an enormous achievement by compiling, shaping and printing his 'Unsafe Journal' with Hichem Touati in such a short time, managed to catch the attention of the alcoholic and socialising crowd, by reciting a statement in a shrill voice about his other publication Fart School that he wrote years ago with Tunc Topcuoglu. He claims to have been cancelled in 2007 with this magazine by teachers and others from the Gerrit Rietveld Academy of Art in Amsterdam, where he and Topcuoglu studied. "Cancellation is of all times!!"

All kinds of people from all corners of Amsterdam found their way to this event, possibly due to the collaboration with the publishing house Ezo Wolf who conjured up a number of 'famous Dutch people', in addition to Arthur van Amerongen, who continues to publish with great vigour, despite the fact that the self-proclaimed cultural wannabe elite apparently does not like him. He is now a columnist for Geen Stijl and writes, among other things, provocative pieces for the opinion weekly HP De Tijd, if I'm not mistaken, and all from Olhão, a quiet village in the Algarve in Portugal. Apparently he can't tolerate the Dutch cultural climate for too long, which I can understand, by the way.

In addition to van Amerongen, there were some other 'originals' walking around and possibly even good writers, but as written above, their interviews were difficult to follow. Who was not difficult to follow was an Amsterdam folk singer who professionally knew how to serve the crowd at her beck and call.

Sina Khani's The Unsafe Journal is populated not only by obscure literary hopefuls but also by strikingly well known figures from across the international cultural world, many of whom come from outside literature, although not always known to a Dutch public. 

Among the contributors are Diana Burkot of Pussy Riot, Mohsen Namjoo, widely considered Iran’s greatest musician, and the European DJ sensation Droeloe. Cult legend Harry Merry also appears with a preview of his upcoming lyrical anthem, alongside Eduard Padberg, NRC Handelsblad’s correspondent in the Middle East, the artist Wayne Horse, who recently sold a painting for eighty thousand, and Tarik Sadouma and Ruth Spetter, the founders of The Unsafe House. The book also features Gabriel Kousbroek, son of the essayist Rudy Kousbroek, Oliver Uschmann, one of Germany’s most prominent writers of the past two decades, and Sofie Kramer, a rising star in the theater world, creating a colorful assembly that stretches from music and visual art to journalism and literature.

In the meantime, The Unsafe House is moving to Amsterdam-Noord, where a new building has been purchased by financier and initiator Tarik Sadouma. He can also promote his own work a bit more, there are plenty of opportunities in the, allegedly, 400m2 new building. We'll see.


Hans Kuiper for Radio Neverno









vrijdag 6 maart 2026

Tomorrow is Today´, international show, opens April 4th, 2026, in Amsterdam

 


Design: Studio van Amsterdam


Kunstruimte 411/ Art Space 411 presents a new international show in Amsterdam with participants from several countries in Europe.

The exhibition opens Saturday, April 4th from 7-11pm.

Tomorrow is Today” aims to be showing work which can not be postponed, partly because of personal, societal or other reasons.

Participants:

Wafae Ahalouch (Amsterdam), Arjan van Amsterdam (Amsterdam), Caro Bensca (Amsterdam), Nina Boas (Amsterdam), René Bosch (Amsterdam), Archi Galentz (Berlin), Minne de Groot (Amsterdam), Alissa Guillouet (Brussels), Patrick Huber (Berlin), Henrik Jacob (Berlin), JC (Amsterdam), Mika Karhu (Helsinki), Sina Khani (Amsterdam), Peter Klashorst, Hagen Klennert (Berlin), Jukka Korkeila (Frankfurt), Hans Kuiper (Amsterdam), Ute Lindner (Berlin), George Maas (Amsterdam), Tatjana Macic (Amsterdam), Claudia Mulder (Amsterdam), Mathilde MuPe (Amsterdam), Jean-Philippe Paumier (Amsterdam), Luciano Pinna (Amsterdam), Artemis Potamianou (Athens), Harald Priem (Mannheim), Niina Ráty (Berlin), Antonio Rego (Hamburg), Virginia Rego  (Hamburg), Jean-Philippe Rousset (Amsterdam), Juha Sääski (Helsinki), Tarik Sadouma (Amsterdam), Johan Sandstrom (Malmö), Stefan Schaefer (Amsterdam), Markus Schaller (Berlin), Sean Smuda (Berlin), Ruth Spetter (Amsterdam), Rutger van der Tas (Haarlem), Tunc Topcuoglu (Amsterdam),  Gerard Veldman (Haarlem), Frans Vendel (Haarlem), Steffen Vogelezang (Amsterdam), Ilja Warmerdam (Haarlem), Linda Weiss (Berlin), Veronika Witte (Berlin), Andreas Wolf (Berlin), Marius van Zandwijk (Amsterdam).

Artist/ curator: Hans Kuiper

More information will follow.






zondag 15 februari 2026

VR sound performance video



English

Performance artist Hans Kuiper cooperated with VR specialist Sander Veenhof and designer Arjan van Amsterdam with the use of the Quest3 glasses, for a sound performance, using several parameters in a virtual 3D grid, connected to sound only. The performance shown here on video was a try out, for the actual, performance in the Amstelkerk in Amsterdam (april 2024), during the Salon Kuiperdomingos Projects, organized by Kunstruimte 411 (Art Space ´411´), you can find at the 411 Instagram account.


Nederlands

Kunstenaar Sander Veenhof, Arjan van Amsterdam en ik zijn in 2024 bezig geweest met de voorbereiding van een performance in Amsterdam, bij de Lentesalon georganiseerd door Kunstruimte 411. Hier een eerste verkenning op video, het was voor mij toen ook de eerste keer dat ik met deze visuele sound app (zo noem ik het maar even) werkte, dus ook voor mij was het een experiment.

Op de instagram -account van Kunstruimte 411 staat een korte registratie van de uiteindelijke performance in de Amstelkerk in 2024.


dinsdag 3 februari 2026

Gerard Veldman in Art Space 411 with ´Instock/ Out-of-Stock´

(Nederlandse tekst hieronder)


Gerard Veldman will be showing works from his storage rooms, works that might need attention of old and new eyes.



Design: Studio van Amsterdam

Veldman on his work:

"I mention myself sometimes a part-time painter. But I am also a lecturer in Conceptual Development at the Amsterdam University of Applied Sciences. I have a strong “urge” to express myself creatively and to translate my ideas into striking images. The whole world and in particular the world of “visual culture” is my source of inspiration for my paintings. I am open to every stimulus and absorb it like a sponge. 

I allow myself to be influenced by photos, films, art, music, architecture, comics, games and the media. It intrigues me to place recognizable figurative images in a different context with paint. As a result, my paintings have an alienating effect and raise questions. These questions are often about codes. We have agreed with each other what is “normal”. A painting that deviates from certain codes stands out. I do this not only so that it is seen, but also to play with ingrained expectations. I like to make people think and stimulate them to develop a different point of view. Because my conceived images sometimes have to be coarse in structure and then refined again, paint is the best material for me. I can often be found in my studio in the center of Haarlem, Netherlands."

Image: Gerard Veldman

Extra:

Hans Kuiper will perform some of his 80´s songs at the opening, inspired by the works of Gerard Veldman.



InStock/ Out-of-Stock, Gerard Veldman in Kunstruimte 411.

Opening February 8th, 2026, 3-6pm

Location: Kinderhuissingel 1, 2013 AS Haarlem.

Curator: Hans Kuiper


After the opening, Monday-Friday from 10am till 5pm, on appointment with the curator or by calling the Seinwezen, Haarlem, building manager. 


You are welcome!



Nederlands 


Gerard Veldman toont werk dat zich heeft laten inspireren door de beeldtaal van de (post-)punktijd.

Veldman: “Ik noem mezelf soms wel eens parttime schilder. Maar ik ben ook docent Conceptuele Ontwikkeling aan de Hogeschool Amsterdam. Ik heb een sterke ‘drang’ om mezelf creatief uit te drukken en mijn ideeën te vertalen in pakkende beelden. De hele wereld, en in het bijzonder de wereld van de ‘visuele cultuur’, is mijn inspiratiebron voor mijn schilderijen. Ik sta open voor elke prikkel en neem die als een spons in me op.

Veldmaan laat zich beïnvloeden door foto’s, films, kunst, muziek, architectuur, strips, games en de media. Het intrigeert hem om herkenbare figuratieve beelden met verf in een andere context te plaatsen. Daardoor hebben zijn schilderijen een vervreemdend effect en roepen ze vragen op. Deze vragen gaan vaak over codes. De samenleving heeft met elkaar afgesproken wat ‘normaal’ is. Een schilderij dat van bepaalde codes afwijkt, valt op. Hij doet dit niet alleen om gezien te worden, maar ook om te spelen met ingesleten verwachtingen. Veldman wil mensen aan het denken zetten en hen stimuleren om een ander perspectief te ontwikkelen. Omdat zijn bedachte beelden soms een ruwe structuur moeten hebben en vervolgens weer verfijnd moeten worden, is verf het beste materiaal daarvoor.” Ik ben vaak te vinden in mijn atelier in het centrum van Haarlem, Nederland.”


Op de opening brengt Hans Kuiper, geinspireerd door het werk van gerard , enkele van zijn songs ten gehore uit de jaren ´80.

De expositie loopt tot en met 30 april 2026.




zaterdag 10 januari 2026

Inspector Casino's Detective Show: Kunstmarkt & Opening Stedelijk Museum Amsterdam (archief)

 

Podcast Inspector Casino's Detective Show voor Amsterdam FM, over de kunstmarkt en de toekomst van de gesubsidieerde kunst in Nederland.

Een podcast voor Amsterdam FM met delen van een programma dat Hans Kuiper maakte voor de VPRO (De Avonden).

Het programma vergelijkt de situatie in de Verenigde Staten (New York in het bijzonder) met die in Nederland.

Reportage met interviews met Kees van Twist, Willem van Weelden en Christian Viveiros-Fauné (curator van de Volta Artfair).


Archief (dit programma werd LIVE uitgezonden in 2012 op Amsterdam FM en er zijn delen te horen uit het programma voor de VPRO uit 2008).


Taal: Nederlands en Engels.

Techniek: Nikos Farfakis.





zaterdag 6 december 2025

Art Space 411 presents ´Mixtake´, a show by JP & JP



(ENGLISH BELOW)

Met 'Mixtake' presenteert kunstenaarsduo JP&JP, bestaande uit Jean-Philippe Paumier en Jean-Philippe Rousset, zijn nieuwe opus bij Kunstruimte 411. 

'Mixtake' verwijst naar de werkwijze van JP&JP als duo: speels, vrij, associatief. Speciaal voor deze gelegenheid, laten JP&JP nieuwe werken zien, van collages tot schilderijen. 


Het project JP&JP is onstaan vanuit de behoefte aan een duidelijke visuele grammatica. Als duo, onderzoeken JP&JP onderliggende correspondenties in hun werk, terugkerende patronen en gezamenlijke bouwstenen.

Allebei beïnvloed door hun liefde voor electro muziek, kiezen JP&JP voor de mixtape als ideaal tentoonstellingsformaat: experimenteel, DIY en sketchy.

Meer Info over deze show volgt.





ENGLISH

Art Space presents JP & JP with Mixtake, opening December 14th, 3-6pm.


Kunstruimte 411/ Art Space 411
Kinderhuissingel 1
2013 AS Haarlem

Opening Sunday December 14th, 2025



donderdag 20 november 2025

Big exhibition, the Arti Salon, opening Nov. 28th, 2025 till -January 16th, 2026

 Pass by at the Salon of the biggest art club in Amsterdam, Arti et Amicitiae, 200 plus artists show latest work. There will be a performance program with a performative installation of artist Hans Kuiper.


You are welcome!


For more information check www.arti.nl  & www.hanskuiper.com




maandag 6 oktober 2025

Life Potential 2, interview met Ersin Eken

(This interview is in Dutch)

Life Potential 2  is een tentoonstelling in Arti et Amicitiae in Amsterdam, met werk van Jeltje Schuurmans, Jacob van Klinken, Shimon Kamada, Bas Burghard, Ersin Eken, Kyra Nijskens en Isabelle Jeanne.

Dit interview is in het Nederlands met de curator Ersin Eken.

Interview, opname en reportage: Hans Kuiper (Radio Neverno).


Life potential 2 (30 augustus-28 september, 2025).

Citeren volgens Creative Commons principes.







zaterdag 20 september 2025

Will The Unsafe House take over the Venice Biennial 2026?

It is always difficult to assess a chance of something happening if you have only access to limited direct information or people stay quiet on the real issues involved.

In a former post we talked about the apparent demise of The Creeps from the Middle East in which we shortly mentioned the new biotope of Sina Khani, the main character of The Creeps:

"The last year Khani seems to be submerged in The Unsafe House project, initiated by Tarik Sadouma, he even lives in their dwellings and seems to have left Berlin. Did he leave The Creeps behind?"

Sadouma, also a character in episode 5, is boosting his art career in several ways. This seems necessary, as he claims to  have been cancelled, recently  by cultural institutions such as De Balie in Amsterdam and the Art Academy of Leipzig (HGB). To achieve this aim Sadouma is running for the USA Venice Biennial pavilion, in collaboration with his friend philosopher, monarchist and "lord of darkness" Curtis Yarvin, who is convinced that Sadouma makes a serious chance to be the USA candidate for the Biennale di Venezia. This topic has also been discussed in The Unsafe House podcast, hosted by Sadouma’s partners in crime, Ruth Spetter and Sina Khani. People interested should watch the podcast.



Sadouma has emerged as a brilliant A.I.-powered trailer producer. ”I like his satirical way of using it," a friend of mine remarked recently. His creative flair even extends to painting, where, according to some,  his unique visual language and bold ideas stand out. Judge for yourself: Tarik Sadouma Paintings

Of course, the Venice Biennale demands something on a larger scale, and while trailers alone might not suffice, his concept The Unsafe House, a kind of relational artwork, could be just the thing. Why not build it in the pavilion in Venice in 2026? That would be my suggestion.

The Unsafe House is currently pouring energy into a bold proposal, set to be delivered by Curtis Yarvin to a cultural envoy in the Trump administration.  A strategic move to bypass the usual tastemakers of the art world in the USA. It’s an audacious approach, but then again, that’s very much Sadouma’s style. To quote the Vanity Fair about their shenanigans: The Barbarians Are at the Gates. 

In the meantime Sadouma, the initiator of The Unsafe House, went on with his project to really achieve a participation in the Venice Biennial. He and some of his partners visited the USA a couple of times, had a meeting with Curtis Yarvin, the big ‘project accelerator’, in Paris, and assured me in personal talks the chance of really getting the USA Pavilion commission was 70%!

As a former professional researcher of opinions, consumers and markets,  you have several options to estimate certain developments by, for example, desk research, combined with qualitative interview techniques, using projective techniques, and  others and you can make people talk on subjects they prefer to stay silent on. This  might deliver relevant data, like a recent publication in The Washington Post and others on latest developments and  relevant candidates for the Venice Biennial 2026.

After visiting The Unsafe House a few times, inviting them to exhibitions with Art Space 411, contributing performances and jingles, and being the main musician on Sina Khani’s No Gaza No Cry, recorded in the Unsafe studios, I found myself caught in a strange dual role. On one hand, I try to stay objective and reliable, maintain a professional face, maybe even live a normal life. On the other hand, there’s the pull of my own projects, artistic and journalistic, increasingly entangled with radical gestures and controversial figures. Collaborating with someone like Sina Khani feels urgent and necessary, but how far can you go before the risk outweighs the impact? And how do you navigate all this without losing your footing or getting cancelled?


Let’s go back to the main topic: will The Unsafe House actually be selected to represent the USA at the Venice Biennial of 2026?

Sadouma and his partners have been quite secretive to me about their proposal, but in The Washington Post though, much is revealed: The proposal would present artists who "have been previously excluded or underrepresented by the hegemonic and ideological art world," artists "who challenge progressive orthodoxies" with a vision of patriotism and traditional values according to their application. Their proposal also includes a workshop for "public figures aligned with conservative or MAGA-related values," like movie stars, to co-create artworks in collaboration with traditional American craftspeople."

The Washington Post reports: “Their vision calls for the U.S. pavilion to be rebaptized as the Salon des Déplorables, a reference to the Salon des Refusés, the 19th-century Parisian exhibition of rejected avant-garde works. A Museum of Dark Enlightenment will showcase artwork of creation and destruction that will declare the 'old' art world to be dead. A series of Hollywood-style sets will offer a provocative mimicry of pop art, without its often disdainful view of American identity.”

It is a clever strategy. By positioning themselves as the alternative, once excluded art community, they directly challenge the art establishment that has long controlled the selection of U.S. representatives at the Biennale. In this shifting cultural landscape, marked by a reorientation of leadership within American institutions, there is a real opportunity. As the Trump administration reshapes the ideological direction of cultural policy, figures like Curtis Yarvin and Tarik Sadouma are not just provocateurs. They are emerging as serious contenders with a cohesive and radical vision. If this momentum continues, it is entirely possible that Sadouma and his collaborators could represent the United States in Venice in 2026.

One very important note on the main competing artist with an "overtly Trumpian, Maga" proposal: Andres Serrano. Notoriously bombarded to fame in the late 80’s with his Piss Christ work (officially called 'Immersion (Piss Christ)),' which also could be the hindrance to his selection by the way, considering the very conservative and explicitly pro-Christian roots of the Maga movement now trying to control and redesign the USA.

Again The Washington Post: Serrano "now thinks he has a perfect fit for a MAGA-ified Biennale. ‘The Game: All Things Trump’ is Serrano’s exhibition of Trump ephemera from his casinos, product lines and television work over the years."

Considering the narcissistic personality of the current president this proposal might even have a bigger chance of being selected, presupposing that the Piss Christ is successfully concealed by the Serrano team.

Things are shifting. The old cultural hierarchies are cracking, and in that space, people like Curtis Yarvin and especially Tarik Sadouma are starting to move in ways that seemed unthinkable a few years ago. In my opinion, Sadouma isn’t just reacting to the moment. He is actually shaping it, with a mix of strategical thinking and sharp media instincts, dark humor, and a kind of unapologetic aesthetic strategy. If the current momentum holds, I genuinely think it is not far fetched to imagine him taking over the U.S. pavilion in Venice in 2026. And honestly, it would make sense in the current cultural and political climate in the USA. His work speaks directly to this weird and unstable time, not just in opposition to the established art world but as something that could replace it.

The decision on who will be the selected artist will fall this month, September-October  2025.


Hans Kuiper


dinsdag 16 september 2025

They Are Places Without Leaves - Interview with Elena Giolo and Sophie Wright

In September 2025 the group exhibition They Are Places Without Leaves runs in Arti et Amicitiae, the art association at the Rokin in Amsterdam.

Hans Kuiper of Radio Neverno interviews Elena Giolo and Sophie Wright on the exhibition.

"Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else" - Italo Calvino.






They Are Places Without Leaves, works by Juliet Aaltonen, Leo Arnold, Elena Giolo, Arthur Jules, Luis Lecea Romera, Niklaus Mettler, Kleoniki Stanich and Sophie Wright. 

 
August 30 - September 28th, 2025 in Arti et Amicitiae, Rokin 112, Amsterdam (NL).

More information on this exhibition via the event page at Arti et Amicitiae



maandag 11 augustus 2025

The Creeps From the Middle East revisited

These Creeps from the Middle East keep on haunting our mind, here at Radio Neverno. All the other editors have left the building, can´t stand it anymore. 

Das Blut der Anderen, the latest episode now online, is not entertaining everywhere though, The Creeps team still seems to be looking for the right balance between fast and slow paced scenes. The slow scenes with the father, still too slow and slightly boring again though, combined with the tenderness and estrangement at the same time, contrasting with the scenes at the end of this episode, at The Unsafe House, made me think again. 


These scenes at the end of this episode, starring Tarik Sadouma, Sina Khani and some pole dancers and running around nuts, where Sadouma exclaims his analysis of the current world, are so out-of-this-world and that all in black and white, with the shouting crazies at the end of the scene, anticlimaxing in a pole scene of mr. Sina Khani himself are maybe the best scenes I have seen till now in this ongoing sequence, and I have seen all of them.

 
The absolutely best scenes of Das Blut der Anderen are at the end, with an amazing Tarik Sadouma.

 I know The Creeps from the Middle East demands a strong ass, I mean, you have to keep on sitting the whole episode to finally arrive at the climactic scenes in The Unsafe House. As we wrote in a former blog post, The Creeps should work more with actor Tarik Sadouma and they finally seem to have seen the light. He is the strong character needed at the side of Sina Khani, finally we have a duo, nicely to watch.





Sadouma in The Creeps is the uncle you don´t want to have, because he ends up reciting poetry while lurking at the water pipe and nervously touching his nose all the time, a bit like that wannabe philosopher Slavoj Žižek, and ending laughing like a crazy. Sadouma looks like the neighbour while you work on that car in your garage and you hear those strange sounds, cries, shouts and people with extreme laughs ending up in a smoker´s cough and you doubt whether you will pass by but are afraid it might end up badly, for you.

The camera (by Steven Bos), is handheld zooming in and out, while the lighting shimmers all around, black and white is back again in the HD era, Sadouma runs around like a combination of the Siberian Snowman and a preacher in  a souk somewhere in the dark alleys of Cairo, young women, some beautiful, some weird looking like stepping out of a horror movie, these last scenes of The Creeps harbour so much richness, in sound and image, you have to see it, time after time, again and again. 





This week I was thinking on hilariousness, I even know an artist with the first name Hilarius, protesting each Saturday in the center of Amsterdam against the continuous bombing of Gaza, hilariousness is what this scene is breathing and it saves another slow Creeps from The Middle East at the end, again.

The choice of music during the scene strengthens the visual parts in a way I seldom see anymore, me, as a musician, I am very sensitive to this. There are so many movies where they don´t understand, profoundly, the relation between sound and image, to my opinion, and this scene of The Creeps is an exception to the never ending slur of the bad usage of music in film.





For the first time I am looking forward to the next episode of the Creeps from The Middle East. I hope Sina Khani and his team are working partners again and don´t go to court. This episode convinced me, a bit, of the enormous potential lying beneath the surface of this creepy world, not always pleasing. The slow and fast scenes need some more finetuning though, but I have the feeling The Creeps might end up with a working combination.