Residu: Art Space 411 presents Barbara van Ittersum, dr San Proper & Tanja den Broeder: Opening 6 sept. 15.00-18.00

Kunstruimte 411 presenteert "Residu".

Kunstenaars: Barbara van Ittersum, San Proper en Tanja den Broeder

English below

Image: Barbara van Ittersum

Residu is een tentoonstelling waarin de residuen van performancekunst, als materialen, ontwerpen, tekeningen en foto´s worden gepresenteerd. Een selectie van performance-kunstenaars zal deze residuen tonen in gebouw Het Seinwezen in Haarlem.

De idee hierachter is dat veel werk dat plaatsvindt vóór de openingen van tentoonstellingen vaak niet zichtbaar wordt voor bezoekers, waardoor ook het proces en het begrip hiervoor moeilijker kan worden. 

Kunstruimte 411 probeert een eerste stap te zetten in het tonen van artefacten en overblijfselen die een rol hebben gespeeld of nog spelen in de beroepspraktijk van de performancekunstenaar. Ook wordt de vraag gesteld of niet álle kunst een performatief element in zich draagt dat getoond kan worden. Kunst als ontwikkeling, benaderingswijze die verdergaat dan het tonen van afgeronde kunstwerken, kan het blikveld verruimen op de praktijk van hedendaagse kunstenaars.

Curator/Organisator: Kunstruimte 411/ Hans Kuiper.

Voor meer informatie zie www.kunstruimte411.nl

´Kunstruimte 411 presenteert "Residu".

Opening zondag 6 september 2026, 15.00-18.00 uur.

Adres: Gebouw Het Seinwezen, Kinderhuissingel 1, 2013 AS Haarlem.

De tentoonstelling loopt tot 4 december en is te bezoeken op afspraak van maandag-vrijdag, tussen 10.00-17.00 uur.

Image: San Proper

ENGLISH

"Art Space 411 presents  "Residu". 

Artists: Barbara van Ittersum, San Proper en Tanja den Broeder

Residu is an exhibition in which the residues of performance art, as materials, designs, drawings and photographs are presented. A selection of performance artists will show these residues in Het Seinwezen building in Haarlem. 

The idea behind this is that a lot of work that takes place before the openings of exhibitions often does not become visible to visitors, which can also make the process and understanding of this more difficult. 

Art Space 411 tries to take a first step in showing artefacts and remains that have played or still play a role in the professional practice of the performance artist. The question is also asked whether not all art contains a performative element that can be shown. Art as a development, an approach that goes beyond the display of finished works of art, can broaden the field of view of the practice of contemporary artists.

Curator/Organizer: Kunstruimte 411/ Hans Kuiper. 

For more information see www.kunstruimte411.nl ́& www.artspace411.com 

Image: Barbara van Ittersum

Art Space 411 presents "Residu". 

Opening Sunday 6 September 2026 , 3-6pm.

Address: Het Seinwezen Building, Kinderhuissingel 1, 2013 AS Haarlem. 

The exhibition runs until December 4 and can be visited by appointment from Monday-Friday, between 10.00-17.00 hours. 

Image: San Proper

Radio special: Tetsuo Kogawa

Tetsuo Kogawa is a radio pioneer in several ways in radio. From micro radio projects, on a very local scale, to technological advice, philosophy and performances.

His websites are referred to elsewhere, in earlier posts on this Radio Neverno blog.

Here is a link to his micro radio manifesto. You can search on that website for more information, technological advice and performance links. 

Below a text written by Kogawa on Trash-art, originally published in 1999.

Trash-art in the age of Digital Ash 

Tetsuo Kogawa

In order to rethink the viability of "trash-art", Walter Benjamin's arguments on 'garbage/trash'(Abfall) and 'rag-picker'(Lumpensammler) are most stimulating. In the past I have called Benjamin's method a "technique of garbage collection"[1]. I dubbed it this considering Benjamin's idiosyncratic materialism that interprets beings as garbage/trash, his historical philosophy which views creation less as output than as rearrangement, and the movements in the methodology of semiotics and deconstruction that developed following Benjamin. In a letter to his friend Gershom Scholem (August 9, 1935), in which Benjamin explains the concept of his later "Passagenarbeiten" treatises, he comments that "this work uses surrealism philosophically and sublimates (aufheben) it, at the same time attempts to capture an image of history in those things that present existence (Dasein) most subtly fixed, in other words in the "garbage/trash" of present existence.[2]

Radical Surrealist montage technique was well-known to Benjamin, but his aim was to develop it into something more profound--a means of historical awareness. In his "Theses on the Philosophy of History," a condensed version of his view of history using montage techniques (or what William Burroughs would describe as "cutup") are the following words: "The true picture of the past flits by. The past can be seized only as an image which flashes up at the instant when it can be recognized and is never seen again."[3] That "image never seen again" is not an image from some great event, but an image that appears in the "waste" of no consequence, and those able to bear witness to it are not "heroes" or some class with special privileges, but the "oppressed."

In a review written by Benjamin in 1930 that passed virtually unnoticed, there is a brilliant passage which describes vividly what constituted his "technique of garbage collection." This is a review of "The Employee" (Die Angestellten), one of the early works of Siegfried Kracauer:

A rag-picker who picks up garbage early in the gray morning. Muttering darkly to himself, getting a bit drunk, he spears the remains of speeches and fragments of words with his stick, and throws them into his cart. Occasionally he picks up scraps of these hackneyed phrases like "human beings," "innerness," and "deepen," and flutters them contemptuously in the morning breeze. He is the morning garbage collector, but this morning is the morning of the day of the revolution.[4]

Kracauer, later in exile in New York and battling with extreme hardship and illness, analyzed the details of German film chiefly of the 1920s and 30s--the enormous "garbage of history"--and wrote "From Caligari to Hitler"(1947), which exposed incisively the collective unconsciousness that paved the way for Hitler's rise to prominence and was then flattened by the force of it.

To Benjamin, "garbage/trash" was the trivial part, the detail of enormous things, in other words, the minute. His mode of thinking was called "micrology". His attention to them was a stratagem in response to the movements of an era in which the will for power was still directed toward spatially enormous objects. The latter half of the twentieth century, however, is an era of "posts": "postindustrial," "postmodern," "postcolonial," "postnuclear," "postmassmediatique" . . . each in turn revolves on the axis of time and is sent on its way. Here, trivial things and minute things cease to be alternatives to the will for power, because not only does power itself no longer seek large things, it accepts the trivial and the minute. Therefore, "small is beautiful."

Theodor W. Adorno, while in one aspect having already adopted Benjamin's idea of "only through the details can we hope for a passage to the whole"[5] as his own mode of thought, also indicated to Benjamin his doubts about this method. To Benjamin, "garbage collection" not only gave form to a method of thought, it actually played an "important role" in the debate on the "passages" (arcades) of 19th century Paris. In a 1938 letter to Benjamin from exile in New York, Adorno made the following comment:

The problem is the rag-picker. To my mind the definition of the rag-picker as a marginal character personifying the very lowest level of poverty does not fulfil at all the promise of the term rag-picker when it appears in one of your texts. (abridged) I assume this shortcoming is related to the fact that the capitalist function of the rag-picker, i.e. the function that makes even beggars subordinate to their exchange value, is not made clear. Could I be reading too much into it all[6]?

Adorno, who was eventually to outlive Benjamin, was finally to write: "All post-Auschwitz culture, including its urgent critique, is garbage(Muell),"[7] and this demonstrates the pessimistic perceptions of Adorno in his belief that all "trivia," "details" and "minute things" are ashes and dust, and all that exists is endless ruin. The world would become not a "slum" littered with "garbage/trash" but would resemble a city after a nuclear attack, a ruin in which even the "details" cannot be discerned.

Benjamin's garbage collection technique directly supposes film montage. The reason his technique did not simply remain an application of the film technique known as montage is because he had a firm grasp of several techniques within the basic movements in thought and technology, i.e. the historical threads flowing into film montage--premodern storytelling, the 'rencontre fortuite' of surrealism, and even "quotations" of Berthold Brecht--and understood their meaning at the most basic of levels. However the digital technology that constructs virtually what does not really exist was not within the technological scope of Benjamin. Though things may be broken up, transformed into garbage and lose their wholeness, they do actually exist as extensions of the body. The electronic world of digital technology however, belongs to a level estranged from any extension of the body. This is, so to speak, the virtual "paradise" built on the "waste" and "ruins" of Adorno, and is "Utopia," literally no-place. Adorno's "pessimism" thus reverses itself into a positivism of electronic space.

Cyberspace is a no-place that nothing physical can exist. This is an ultimate form of garbage/trash where no body can survive. Art is an art that something physical flashes up at the instant over the space. Art can continue to exist only in the phase of time. Due to the cyberspace that exterminates physical element, live human body could reactivate itself in the temporal relation with it. Trash-art in the cyberspace will go to live action such as the live streaming.

Notes:
[1] Tetsuo Kogawa, Shutai no Tenkan (Changing the Subject). Tokyo: Miraisha, 1978, pp. 235-8.
[2] Gershom Scholem and Theodor W. Adorno, eds., Walter Benjamin, Briefe 2. Frankfurt am Mine:Suhrkamp Verlag, 1978, p.685.
[3] Hannah Arendt, ed., Walter Benjamin, Illuminations. Translated by Harry Zohm. New York: Schocken Books, 1968, p. 235.
[4] Hella Tiedemann-Bartels, ed., Walter Benjamin Gesammelte Schriften III. Frankfurt am Mine:Suhrkamp Verlag, 1971, p.225.
[5] Theodor W. Adorno, Ueber Walter Benjamin. Frankfurt am Mine: Suhrkamp Verlag, 1990, p.87.
[6] Ibid., pp.159-160.
[7] Theodor W. Adorno, Negative Dialectics. Translated by E.B. Ashton. New York: The Seabury Press, 1979, p.367.

(I appreciate Pamela Virgilio Miki for her help totranslate the original Japanese text into English.)

Isaev Alexsei(ed.): The look from the East, Media ArtLab, Moscow, 2000

Es singt und spielt noch immer: Neoschlager (VIDEO)

 
Die Neoschlagertour 2026 ist unterwegs entlang viele Orte im Kunstbereich. Mehr Information ueber das Tour dieses Jahres koennen Sie HIER finden.

Sie koennen noch immer buchen:

Kontakt und Buchungen:

  
neoschlager@gmail.com

Tief in der Nacht LIVE (Film von Boudewijn Ruckert):

Die Neoschlagertour 2026 bis jetzt (Selektion):

7. Juni: ´Surprise!´, Haarlem (NL), Kunstruimte 411.

4.April: Amsterdam (NL), ´Tomorrow is Today´, Amstelkerk.

3. Februar: Haarlem (NL), Kunstruimte 411 

28. Januar: Amsterdam (NL), De Thomas.

Selektion von einige Konzerte in 2025:

Dezember, Mixtake, JP & JP, Projektraum 411, Haarlem (NL)

November: Salon Arti et Amicitiae, mit Gaeste Paparonnie & Sina Khani

Oktober, Platforms Project, Athen, Griechenland

September, ´Love as Resistance´, Linda Weiss in Projektraum 411, Haarlem (NL)

Juni, ´Boom Boom Cha´, Internationales Ausstellung, Haarlem (NL)

Februar: Digitales TV/ Fernsehen- Creeps from the Middle East, in The Unsafe House, Amsterdam, 4 Konzerte.

Liebe Gruesse und bis bald.

Der Neoschlager

Folge Neoschlager fuer richtige updates ueber Konzerte: NEOSCHLAGER

Niederlaendische Neoschlager: Oncologie wil endoscopie

Neoschlager · Oncologie wil endoscopie

Inspiring Get-Together at the opening of Tomorrow is Today in De Amstelkerk

Hierbij enkele foto´s van de opening van Tomorrow is Today, de tentoonstelling die zaterdag 4 april, 2026, opende in de Amstelkerk in Amsterdam. De tentoonstelling loopt tot en met 24 april.

English

Here some photos of the opening of Tomorrow is Today in Amsterdam, April 4th, 2026. The show is visitable until April 24th in De Amstelkerk, Amstelveld 10, Amsterdam.

Nina Boas, performance photos

Nina Boas: "I create sensory, temporary spaces that invite slowing down, connection, and imagination. My work balances between art and ritual, offering opportunities for collective healing, inner navigation, and reconnection with the body, the landscape, and our ancestors."

Works of MINNE de Groot, Marius van Zandwijk, Caro Bensca (right to left)

Archi Galentz in front of his painting.

Archi Galentz:

"Statement

In his 1991 treatise on visual art, “Die Schuld der Moderne” (The Guilt of Modernism), my

art professor Klaus Fussmann laments the loss of allegory as a component of artistic

expression. Since studying under him at the Berlin University of the Arts, I have been

trying to explore the mechanisms of pictorial narration and develop my own formulas. 

For many years, I worked on a composition depicting the contest of the arts in the history

of painting, also known as the Flaying of Marsyas. Last year, I exhibited a painting

featuring Themis, Olympia, a tortured musician, and onlookers at the BoomBoomCha

exhibition, curated by Hans Kuiper at Kunstruimte 411 in Haarlem. Another composition that interests me is based on the myth of the Minotaur, a hybrid creature born as punishment by those in power. 

As a passionate painter, I have curiously and fearlessly explored the possibilities of AI to discover new and unexpected solutions. The flood of images created by neural networks ultimately becomes interesting through the artist's selection and interpretation. Since I am familiar with photography and

consider the boundaries between media to be fluid, I have left some motifs as photo

prints after careful consideration and slight technical editing. 

Under museum glass and in appropriate frames, I am convinced that the works are entirely competitive with classical painting. A print as a naturalistic photo adorned last year's poster for the exhibition

“...durch mythische Zonen” (Through Mythical Zones) in Moers in western Germany, and

another image was featured in the group exhibition in Chemnitz at the exhibition of

Armenian artists as part of the cultural events in the Capital of Culture of the Year. For the group show “Tomorrow is Now,” I would like to try my hand at classical painting

with tempera and oil glazes again, but based on pre-study work by artificial intelligence."

Works of  George Maas, Archi Galentz and René Bosch (left to right).

Artist improvisational band with El Habib (Vocals), Luciano Pinna (bass), Sean Smuda (piano), George Maas (percussion), Hans Kuiper (guitar).

Virginia and Antonio Rego in front of his painting ´Adamastor´.

A short story by Antonio Rego:

The Neon Wings

Bleep bleep.

The neon advertisement of the butcher's shop shifted color—blue to yellow, yellow to blue.

On the other side of the corner, we sat on the stairs of a building entrance, hidden by the night.

Below the neon wings, the word Paradise burned in vivid red.

Maria stood beneath it, washed by the multicoloured flicker. His slender figure looked perfect.

Behind him, the carcasses of cows hung.

It was theatrical—beautifully framed by darkness.

On our side of the street, Isaura kissed Marta, their bodies fusing into a long, sliding movement.

Maria’s voice stormed the street, drained of light—

powerful, enchanting.

Like in a dream, we fell silent, offering no resistance to his offering.

He read from Baudelaire—Les Fleurs du mal:

Mon esprit, tu te meus avec agilité,

Et, comme un bon nageur qui se pâme dans l’onde,

Tu sillonnes gaiement l’immensité profonde...

My spirit, you move with agility,

And, like a skilled swimmer gliding through the waves,

You joyfully travel across the deep immensity...

A violent metallic sound cut through our pleasure.

A bucket of piss was emptied from the second floor onto Maria’s body below.

— Vai acordar a tua mãe, filho da puta!

The woman screamed from the window.

Silence.

Nothingness.

The smell of fresh morning bread ended the night.

Maria remained—smelly, nauseating—but it did not dampen our high spirits.

Com as minhas mãos na sombra das tuas, eu recolho as folhas perdidas.

Con mis manos en la sombra de las tuyas, recojo las flores que envenenan."

Visitors in front of work of Frans Vendel. At the right a painting of Rutger van der Tas.

Mathilde MuPé bij haar schilderij "I liked you"

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.

(Geluid aan!)

Kunstenaar/performer @hanskuiper verkent de eerste versie van een "AR" app (zonder AR) die ik aan het maken ben voor z'n aankomende optreden in de Amstelkerk in A'dam

De #Quest3 bril volgt de bewegingen van zijn handen waarmee hij de pitch van geluiden bestuurt pic.twitter.com/YFjQix3YLP

— Sander Veenhof (@sander) February 22, 2024

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

Boom Boom Cha, Summer Salon of Art Space 411 opens in Haarlem (NL), June 29th-Aug 25th, 2025

ENGLISH BELOW

Kunstruimte 411 organiseert deze zomer weer een zomersalon met de titel:`BOOM BOOM CHA´.

Art Space 411 presents BOOM BOOM CHA, a new Summer Salon with participants from Amsterdam, Berlin, Leipzig, Hamburg, Brussels and Haarlem.

(Image: Linda Weiss)

Kunstenaars die bevestigd hebben deel te nemen: Wafae Ahalouch, Arjan van Amsterdam, Anna Bolten, René Bosch, Margreet Bouman, Ronja Brainstorm (Leipzig), Anna Firmberger (Berlin), Maud Fernhout, Archi Galentz (Berlin), Margriet Gehrels, Willem Gorter, Alissa Guillouet (Brussel), Sina Khani (Berlin), Claudia Mulder, Eva van Ooijen,  Hans Kuiper, Lucas Lelieveld, Urs Moore, Paul Ouwerkerk, Jean-Philippe Paumier, Luciano Pinna, Antonio Rego (Hamburg), Jean-Philippe Rousset, Ronald Ruseler, Tarik Sadouma, Ben Sampson, Markus Schaller (Berlin), Ivo Schouten, Ruth Spetter, Rutger van der Tas, Marjolein van Veen, Maria van der Velde, Gerard Veldman, Steffen Vogelezang, Ilja Warmerdam, Linda Weiss (Berlin), Jeroen Witvliet, Andreas Wolf (Berlin), Marius van Zandwijk e.a. 

Media: schilderijen, fotografie, video, performance, tekeningen .

Kunstenaar/ curator: Hans Kuiper

(Image: Jean Philippe Paumier)

Na de salons afgelopen jaar in de Amstelkerk in Amsterdam en recent in Berlijn, organiseert kunstenaar/curator Hans Kuiper deze zomer weer een salon in Haarlem, waarbij een selectie van Haarlemse en Amsterdamse kunstenaars, samen met kunstenaars uit Hamburg, Leipzig, Brussel en Berlijn, nieuw werk tonen.

BOOM BOOM CHA wil een swingende, veelzijdige salon zijn, geïnspireerd op de persoonlijke ritmes die ook de beeldend kunstenaar met zich meedraagt.

Kunstenaars uit Haarlem, Amsterdam, Berlijn, Leipzig, Hamburg en Brussel.

Opening: Zondag 29 juni, vanaf 15.00 uur, met performances.

Locatie: Gebouw Het Seinwezen

Adres: Kinderhuissingel 1, 2013 AS Haarlem

(Image: Paul Ouwerkerk)

ENGLISH

Art Space 411 presents BOOM BOOM CHA, a new Summer Salon with participants from Amsterdam, Berlin, Leipzig, Hamburg, Brussels and Haarlem.

Opening: June 29th, 2025, 3pm, in Haarlem (NL).

Media: paintings, photography, video, performance, drawings.

After organising salons in Amsterdam (2024, Amstelkerk) and recently in Berlin (2024-2025: 3 exhibitions in cooperation with InteriorDASein, Gallery Toolbox and Project space ´Rosalux´), initiator Hans Kuiper will organise a summer salon in Haarlem. A selection of artists is invited to participate from Haarlem and Amsterdam in combination with artists from Berlin, Hamburg, Leipzig and Brussels. 

BOOM BOOM CHA aims to be a swinging, multimedia salon, inspired by the personal rhythms each artist harbours.

Confirmed participants are a.o. Wafae Ahalouch, Arjan van Amsterdam, Anna Bolten, René Bosch, Margreet Bouman, Ronja Brainstorm (Leipzig), Anna Firmberger (Berlin), Maud Fernhout, Archi Galentz (Berlin), Margriet Gehrels, Willem Gorter, Alissa Guillouet (Brussel), Sina Khani (Berlin), Claudia Mulder, Eva van Ooijen,  Hans Kuiper, Lucas Lelieveld, Urs Moore, Paul Ouwerkerk, Jean-Philippe Paumier, Luciano Pinna, Antonio Rego (Hamburg), Jean-Philippe Rousset, Ronald Ruseler, Tarik Sadouma, Ben Sampson, Markus Schaller (Berlin), Ivo Schouten, Ruth Spetter, Rutger van der Tas, Marjolein van Veen, Maria van der Velde, Gerard Veldman, Steffen Vogelezang, Ilja Warmerdam, Linda Weiss (Berlin), Jeroen Witvliet, Andreas Wolf (Berlin), Marius van Zandwijk 

Artist/ curator: Hans Kuiper

More Information on this event follows, keep on checking this website for updates on participants.

Check Art Space 411 also on Instagram.

Design: Studio van Amsterdam

Kunstruimte 411/ Art Space 411 in Berlin

Design: Mikel Orfanos

Kunstruimte 411/ Art Space 411 will co-organize two exhibitions in Berlin in the autumn/ winter of 2024-2025.

The first, Herbstspaziergang, in cooperation with InteriorDaSein and Toolbox will open October 25th, 2024.

The second, Reclaim Reality, in cooperation with Rosalux will open November 29th, 2024. On this show later more.

A selection of artists based in the Netherlands will show latest work together with a selection of Berlin based artists.

Participants in Herbstspaziergang:

Jessica Assmann-Zwaanswijk,  Rene Bosch, Aquil Copier, Daan van Houten, Sina Khani, Hans Kuiper, Antonio Rego, Tarik Sadouma, Gerard Veldman, MC de Waal, Ilja Warmerdam, Marius van Zandwijk, Piet Zwaanswijk.

Participants in ´Reclaim Reality´ (Opening Nov. 29th)

Wafae Ahalouch, Arjan van Amsterdam, Jessica Assmann-Zwaanswijk, Aquil Copier, Iliya Fogg, Margriet Gehrels, Alissa Guillouet, Daan van Houten, Sina Khani, Hans Kuiper, Dirk van Lieshout, Claudia Mulder, Beth Namenwirth, Eva van Ooijen, Jean-Philippe Paumier, Guido Pera, Luciano Pinna, Antonio Rego, Maarten Rots, Jean-Philippe Rousset, Tarik Sadouma/ The Rise of the Unsafe House: Ben Sampson, Maria van der Velde, Ruth Spetter, Ivo Schouten, Jorrit Sinke, Rutger van der Tas, Marjolein van Veen, Sjimmie Veenhuis, Steffen Vogelezang, MC de Waal, Ilja Warmerdam, Marius van Zandwijk, Piet Zwaanswijk. 

Deutsch

411 wird in Oktober und November 2024 zwei Ausstellungen organisieren in Berlin! Das zusammen mit drei Berliner Projektraeume, InteriorDaSein, Toolbox und Rosalux. Die erste Ausstellung, Herbspaziergang, eroeffnet den 25. Oktober in InteriorDaSein und Toolbox, den zweiten, ´Reclaim Reality´ den 29. November in Rosalux, ueber diese letzte Ausstellung wird spaeter mehr Information publiziert werden.

Es wird ein Selektion von Kuenstler/innen mitmachen die in der letzte Jahren ausgestellt haben in 411 zusammen mit Berliner Kuenstler/innen.

Teilnehmende in ´Herbstspaziergang´:

Jessica Assmann-Zwaanswijk,  Rene Bosch, Aquil Copier, Daan van Houten, Sina Khani, Hans Kuiper, Antonio Rego, Tarik Sadouma, Gerard Veldman, MC de Waal, Ilja Warmerdam, Marius van Zandwijk, Piet Zwaanswijk.

Teilnehmende in ´Reclaim Reality´:

Wafae Ahalouch, Arjan van Amsterdam, Jessica Assmann-Zwaanswijk, Aquil Copier, Iliya Fogg, Margriet Gehrels, Alissa Guillouet, Daan van Houten, Sina Khani, Hans Kuiper, Dirk van Lieshout, Claudia Mulder, Beth Namenwirth, Eva van Ooijen, Jean-Philippe Paumier, Guido Pera, Luciano Pinna, Antonio Rego, Maarten Rots, Jean-Philippe Rousset, Tarik Sadouma/ The Rise of the Unsafe House, Ivo Schouten, Jorrit Sinke, Rutger van der Tas, Marjolein van Veen, Sjimmie Veenhuis, Steffen Vogelezang, MC de Waal, Ilja Warmerdam, Marius van Zandwijk, Piet Zwaanswijk. 

(Image: Antonio Rego)

(Image: Kuiperdomingos Projects, Berlin, 2011)

Salon Kuiperdomingos Projects, until May 3rd in Amsterdam

 

Art space 411 presents "The Spring Salon Kuiperdomingos Projects".

In April-May 2024, a Spring Salon salon will be organized by Art Space 411, this time in Amsterdam. Curators Hans Kuiper (Amsterdam) and Tiny Domingos (Berlin) invited 37 artists from Amsterdam, Berlin, Hamburg, London, Marseille and Haarlem.

The aim of the exhibition is to honour artists who, outside the museum and gallery circuit, create independent spaces and initiatives to present practices with the visual arts as a starting point. For the curators of this project, these spaces are sanctuaries of cultural participation and inclusion, beyond institutional, commercial and political interests, essential for new perspectives.

Opening April 5th, 5pm at the Amstelkerk, Amstelveld 10, in Amsterdam. The show runs till May 3rd 2024.

Artists: Arjan van Amsterdam, Wafae Ahalouch, Nina Boas, Eline Boerwinkel, Rene Bosch, Tiny Domingos, Bella Easton, Frank Diersch, Andre Evers, Archi Galentz, Rosie de Graaf, Alissa Guillouet, Kirsten Hutsch, Patrick Huber, Sina Khani, Hans Kuiper, Anton Laiko, Ute Lindner, Claudia Mulder, Eva van Ooijen, Paul Ouwerkerk, Martyn F. Overweel, Luciano Pinna, Antonio Rego, Maarten Rots, Ivo Schouten, Jorrit Sinke, Kata Unger, Marjolein van Veen, Sander Veenhof, Sjimmie Veenhuizen, Gerard Veldman, Steffen Vogelezang, Ilja Warmerdam, Andreas Wolf, Marius van Zandwijk.

 Art space 411 presents "The Spring Salon Kuiperdomingos Projects".

(design digiflyer: Arjan van Amsterdam)

 

Lentesalon 2024- Spring Salon in Amsterdam

 

Art space 411 presents "The Spring Salon Kuiperdomingos Projects".

In April-May 2024, a Spring Salon salon will be organized by Art Space 411, this time in Amsterdam. Curators Hans Kuiper (Amsterdam) and Tiny Domingos (Berlin) invited 37 artists from Amsterdam, Berlin, Hamburg, London, Marseille and Haarlem.

The aim of the exhibition is to honour artists who, outside the museum and gallery circuit, create independent spaces and initiatives to present practices with the visual arts as a starting point. For the curators of this project, these spaces are sanctuaries of cultural participation and inclusion, beyond institutional, commercial and political interests, essential for new perspectives.

Opening April 5th, 5pm at the Amstelkerk, Amstelveld 10, in Amsterdam. The show runs till May 3rd 2024.

Artists: Arjan van Amsterdam, Wafae Ahalouch, Nina Boas, Eline Boerwinkel, Rene Bosch, Tiny Domingos, Bella Easton, Frank Diersch, Andre Evers, Archi Galentz, Rosie de Graaf, Alissa Guillouet, Kirsten Hutsch, Patrick Huber, Sina Khani, Hans Kuiper, Anton Laiko, Ute Lindner, Claudia Mulder, Eva van Ooijen, Paul Ouwerkerk, Martyn F. Overweel, Luciano Pinna, Antonio Rego, Maarten Rots, Ivo Schouten, Jorrit Sinke, Kata Unger, Marjolein van Veen, Sander Veenhof, Sjimmie Veenhuizen, Gerard Veldman, Steffen Vogelezang, Ilja Warmerdam, Andreas Wolf, Marius van Zandwijk.

 Art space 411 presents "The Spring Salon Kuiperdomingos Projects".

(design digiflyer: Arjan van Amsterdam)

 

Welcome to Radio Neverno

RADIO Neverno is an art radio-podcast project by Hans Kuiper & Moritz Ebinger.

A.K. Bouwman, Amber-Helena Reisig en Moritz Ebinger

Hier kunt u podcasts van de Radio Neverno beluisteren. Radio Neverno is een kunstradio die op locatie uitzendt. De meest recente live sessies hebben plaats gehad in Arti et Amicitiae in AMSTERDAM .


Zodra u op deze website komt, start automatisch een van de vele podcasts.

Met bijdragen van onder meer Studio Kinematix, Maarten Schmidt, Dirk van Lieshout, 't Gaepend Gat & Amber-Helena Reisig, Elhabib Art (El Andalous liederen, begeleid op flamenco gitaar door Hans Kuiper), .

Performances en interviews.

Presentatie door Hans Kuiper en Moritz Ebinger.

////////////////
Here you can find podcasts of RADIO NEVERNO. Radio Neverno is an Art Radio. The most recent live sessions took place in Arti et Amicitiae in Amsterdam.

A variety of guests will perform and be interviewed, like Elhabib Art, Studio Kinematix, Maarten Schmidt, Dirk van Lieshout, 't Gaepend Gat & Amber-Helena Reisig.

On the opening podcast: after a introduction by Moritz Ebinger & Hans Kuiper, Elhabib Art sings El Andalous songs. Hans Kuiper accompanies him on (flamenco) guitar.

Interviews in English and Dutch.

Composer Michael Edward Edgerton Interview

Radio Neverno's Hans Kuiper interviewed Michael Edward Edgerton, composer and performer, currently composition professor at the Guangxi Arts University in China.

On this page you can listen to the interview and to compositions of Michael Edward Edgerton.

The interview is on his view on composition, mastering instruments and the voice in particular. The interview is in English.

Michael Edward Edgerton performing in Amsterdam (May 2016, photo Hans Kuiper)





For more information on Edgerton, see the WEBSITE LINK Michael Edward Edgerton here.

Below the 'Composition Catalogue' of Michael Edward Edgerton.

Michael Edward Edgerton - Composition Catalogue

Bio

MICHAEL EDWARD EDGERTON
Currently Associate Professor at the Guangxi Arts University, Michael is a composer whose work elides the boundaries of complexity with practical applications of physical and perceptual models. Since the mid-90’s he has been pioneering work with Multidimensionality and Nonlinear Phenomenon applied to sound production and composition.
Michael’s compositions have received prizes and/or recognition from: 2016 fifth China-ASEAN Music Week musical composition competition, for solo piano (1st Excellent Award, Thrush, #91, 2015); der Landeshauptstadt Stuttgart, 2007 (First Prize, Tempo Mental Rap, #72, 2005); Composition Contest of the Netherlands Radio Choir, 2007 (Semifinalist, Kalevi Matus, #58, 2000); 5th Dutilleux International Composition Compétition, 2003 (Sélection, 1 sonata, #70, 2004); 31st Festival Synthese Bourges, 2001 (Sélection, The Elements of Risk in Creation, #59, 2001); MacDowell Club, 1996 (First prize, Unspoken Crime #09, 1988); Friends and Enemies of New Music, 1993 (Selection,Net/Byrinth:Rec.Study I, #15, 1991); Midwest Composers Symposium, 1989 (Selection, A Penny for the Young Guy #3, 1986); National Federation of Music Clubs, 1987 (Third Prize, Ai #5, 1987); National Federation of Music Clubs, 1987 (Honorable Mention, Dwellers of the Southwest, #2, 1986); Michigan State Univ-Orchestral Composition Contest, 1986 (First prize, The Final Diary of a Branch, #1, 1985).
Michael has also been recognized in the Marquis Who’s Who in the World 2015 & 2016.
His music has been performed by 441 Hz Chamber Choir, AuditivVokal Dresden, China-Asean Youth Orchestra, Ekmeles Ensemble, Ensemble Ars Nova, Guangxi Symphony Orchestra, Kairos String Quartet, Stockholm Saxophone Quartet, Quartet New Generation, Works-in-Progress Ensemble and soloists Almut Kühne, Andreas Fröhling, Angela Rademacher-Wingerath, Chatschatur Kanajan, Gary Verkade, Jan Heinke, Jeffrey Burns, Joshua Hyde, Mats Möller, Matthias Bauer, Philippe Arnaudet, Rebekka Uhlig, Stefan Östersjö, Timo Kinnunen, among others.
His work has been recorded on Modern Choral Masterpieces (441 Hz Chamber Choir, Dux Records, 2015); raven, le corbeau (Escargot ma non troppo: Paris, 2012); Alles – Auβer – gewöhnlich (Auditivvokal Dresden, MusikForum Dresden 2012); ELECTRONIC VOICES (Galerie SPHN, Berlin, 2001); and has been documented in a film by Lena Giovanazzi titled, Stimmig – 10 Vokalexkursionen (Mainz: University of Applied Sciences Mainz, 2012).
Michael’s work has been discussed in the following publications: Modern Accordion Perspectives #2 “Critical selection of accordion works composed between 1990 and 2010” Ed. Jacomucci (2014, Edizioni Tecnostampa, Loreto); The Techniques of Guitar Playing, by Josel and Tsao (2014, Bärenreiter); Network Science by Barabasi (2013); Pocci Catalog: the Guide to the Guitarist’s Modern and Contemporary Repertoire. Catalog of the repertoire since 1900 for guitar solo, guitar in chamber music and guitar with orchestra, by Pocci (2013, VP Music Media); Stimmig – 10 Vokalexkursionen by Giovanazzi (2012, University of Applied Sciences Mainz); When Words Are Not Enough: Tracing the Development of Extended Vocal Techniques in Twentieth-Century America, by Crump (2008, The University of North Carolina at Greensboro); New Complete Method for Clarinet: Clarinet Repertoire by Campagnolo,. (2008, Edizione C.D.B, Italy); The Encyclopedia of the World of Another Music (Svìt jiné hudby 2), by Slaby + Slaby (2007, Volvox Globator Publishing House); Weber-Lucks, Theda (2003). KörperStimmen. Eine Untersuchung zur Ästhetik Vokaler Performance Kunst mit einer gendervergleichenden Perspektive, by Weber-Lucks (2003, Technische Universität Berlin); Manuales Auditivo-Vocales; vol. 5 La Voz y el Canto & vol. 9 Manual de Psicoacústica by LaFarga (2003, Cullera); Information Arts, Intersections of Art, Science, Technology, by Wilson (2002, The MIT Press), and; On the construction of the passing of time in music, by Chandra  (1989, University of Illinois at Urbana-Champaign).
Michael is engaged with research into voice, acoustics and perception. This work has been supported by numerous grants, including a Postdoctoral Fellowship with the National Center for Voice and Speech. The results have been published in diverse scholarly journals, as well as book chapters in Perspectives on Teaching Singing: a celebration of Vocal Pedagogy in the 21 Century (ed. Scott Harrison and Jessica O’Bryan; Springer Publishing), and The Oxford Handbook of Singing (ed. John Nix; Oxford University Press). Edgerton has two books available: The 21st Century Voice (New Instrumentation Series, Rowman & Littlefield, 2nd ed. 2015) and Music within the Continuum (Lambert Academic Publishing, 2015).

Michael’s compositions are published by BabelScores, C. Allen Publications, Componistenwerk, Conners Publications/C.P. Press Publications; Forum Zeitgenössischer Musik Leipzig, PRB Production, T.U.B.A Press and Uetz Verlag.

Kunst, radio & performance, program(ma) Radio Neverno 13/11

Below some photos and the program of the November 13th show of Radio Neverno. The podcast soon will be uploaded. This podcast is in Dutch!

Vrijdagavond 13 november was er weer een live show van Radio Neverno vanuit Arti et Amicitiae in Amsterdam. De podcast van deze show zal binnenkort online zijn.

Gasten deze keer waren:

The Radio Neverno guests were:

20.00 Sugarrrpussy, performance artist
20.30 Louis Gauthier, radio journalist, musicus, alleskunner
21.00 Jan Rothuizen, artist
21.30 Tatjana Macic, artist

Presentatie: Hans Kuiper (& Moritz Ebinger, als hij uit de file weet te komen bij Antwerpen, Rotterdam  en/of Utrecht)

Techniek: Alexis Papamarkou.

Radio Neverno at the Museumnacht Amsterdam 7/11

By Hans Kuiper


UPDATE

First confirmed guests of RADIO NEVERNO at the Museumnacht Amsterdam, at Nov. 7th: Kees van Twist (former director Groninger Museum/ Dutch attache culturel in NY) , Sebastiaan Schlicher (artist/ performer), Diana Blok (photographer), Gover Meit (performer)!


Yes, time again for a Radio Neverno session, this time we will do a 6 hours long live session at the Museumnacht in Amsterdam.

Moritz Ebinger and I have had our first ideas and talks on the concept and already a list of potential guests: artists, performers, scientists and more.

So, be welcome at the Museumnacht in Arti et Amicitiae in Amsterdam or online, coming November 7th, 2015.

More info will follow soon via the Radio Neverno blog and at the Inspector Casino blog!

So, be welcome for a live session in Arti et Amicitiae in Amsterdam, coming November 7th.

Welcome to Radio Neverno!

RADIO Neverno is an art radio-podcast project by Hans Kuiper & Moritz Ebinger.

A.K. Bouwman, Amber-Helena Reisig en Moritz Ebinger

Hier kunt u podcasts van de Radio Neverno beluisteren. Radio Neverno is een kunstradio die op locatie uitzendt. De meest recente live sessies hebben plaats gehad in Arti et Amicitiae in AMSTERDAM .


Zodra u op deze website komt, start automatisch een van de vele podcasts.

Met bijdragen van onder meer Studio Kinematix, Maarten Schmidt, Dirk van Lieshout, 't Gaepend Gat & Amber-Helena Reisig, Elhabib Art (El Andalous liederen, begeleid op flamenco gitaar door Hans Kuiper), .

Performances en interviews.

Presentatie door Hans Kuiper en Moritz Ebinger.

////////////////
Here you can find podcasts of RADIO NEVERNO. Radio Neverno is an Art Radio. The most recent live sessions took place in Arti et Amicitiae in Amsterdam.

A variety of guests will perform and be interviewed, like Elhabib Art, Studio Kinematix, Maarten Schmidt, Dirk van Lieshout, 't Gaepend Gat & Amber-Helena Reisig.

On the opening podcast: after a introduction by Moritz Ebinger & Hans Kuiper, Elhabib Art sings El Andalous songs. Hans Kuiper accompanies him on (flamenco) guitar.

Interviews in English and Dutch.