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News & Events

  • 21.01
    Opening Four Months, Four Million Light Years by Sara Sejin Chang (Sara van der Heide)

    Join us for the opening of Four Months, Four Million Light Years by Sara Sejin Chang (Sara van der Heide).


    Four Months, Four Million Light Years (2020) by Sara Sejin Chang (Sara van der Heide) presents a shamanic healing journey through space and time. This immersive film installation addresses the colonial narratives behind transnational and transracial adoption, through the historical relations between The Netherlands and Korea.


    Click here for more information!

  • 09.12–11.12
    Two Voices by Angela Detanico & Rafael Lain

    Two Voices by Angela Detanico & Rafael Lain



    Curated by: Chris Bestebreurtje and Petra Kuipers

    Actors: Annabelle Hinam and Thor Louwerens


    Opening Times: Friday to Saturday 13:00—17:00
    Sunday 10:00—11:00


    Performance Times:
    09.12.2022 17:00
    10.12.2022 14:00 and 17:00
    11.12.2022 11:00


    A ticket for attending a performance is required.

    You can book a ticket here:



    For the past two decades, the Brazilian artistic duo Angela Detanico & Rafael Lain have been working on a coherent oeuvre which poetically translates various linguistic, scientific and meteorological findings. At Tlön Projects’ behest, they will now, for the first time, present a performance with a comprehensive staging environment which brings together various connected works. The presentation will constitute a framework within Tlön Projects’ Satellite Programme and its annual cooperation with ROZENSTRAAT – a rose is a rose is a rose in Amsterdam.


    Two Voices (2012) expresses the cyclical relationship of the sun and moon. The presentation’s titular piece is a black & white animation projected onto the opposing eastern and western walls. Sunrise and sunset, moonrise and moonset. One day per minute. 365 minutes equal a year. At the bottom of each projection days, hours and minutes indicate the passing of time at the artwork’s accelerated rate.


    From 365 days to 365 minutes, the quotidian variations, evolutions and interactions of the rhythms of sun and moon, day and night are accelerated so as to reveal to audiences the fragments of a pas de deux that usually escapes our inattentive eyes.


    30 minutes of this work — the lunar month of December — constitute the score for two actors who will put the solar-lunar dialogue into words by reading excerpts discussing one or the other. The lecture’s duration is determined by the heavenly bodies’ cycles. As these are asynchronous, there are moments at which the actors read aloud alone, moments of vocal overlay and moments of silence.


    Both preceding and after the performance, the animation Two Voices will alternate with two black & white animations: 28 Lunes (2014) and 365 Soles (2016). The first shows 28 excerpts from the astronomical tract Sidereus Nuncius by Galileo Galilei from 1610 which reveals the moon’s various phases. 365 Soles is 28 Lunes’ counterpart. ‘Sol’ — Latin for sun — is situated in the centre of a disc constituted by 365 pages from the book De Revolutionibus Orbium Coelestium by Nicolaus Copernicus that was first published in 1543. The words on the pages meld and change 365 times while the word ‘sol’ remains visible at all times.


    A new series of textual pieces from the ongoing project Palavras Compostas which started in 2012 will be spread out across the space. The artistic duo will also exhibit three large prints: textual excerpts from the performance with the duration of one day transferred to a sheet of Kozo Awagani paper. Featuring characters instead of minutes, as in the animation Two Voices.


    Finally, another work on show is a new piece from the series Vanitas (2017 – present day) which features words that reference the passing of time written using a notational system in which every letter of the alphabet is indicated by a particular number of flowers in a vase. Angela Detanico & Rafael Lain used the word ‘cycle’ that is spelled the same way in both English and French as their point of departure and as a meta commentary on the entirety of their works.


    Angela Detanico & Rafael Lain adopt language as the subject and object of their work. A poetics that presents the world seen from its own codes of perception and understanding. Their largely conceptual works employ the use of sound, graphics, text, video, and other traditional art mediums within their installations. They represent a rigorous use of formalism and a refined use of visual and written poetry.


    Their work reflects their joint fascination with the human ability to contemplate the world around them and beyond. Imbued with scientific, mathematical and literary references, their work applies themes of time, space, memory and the infinite beyond.


    Angela Detanico & Rafael Lain have worked together since 1996. Semiologist and graphic designer, born in 1974 and 1973, respectively, in Caxias do Sul in Brazil. The artists live and work in Paris.


    In 2002, the duo participated in an artist residency in the French capital, at the Palais de Tokyo. Two years later, they won the prestigious Nam June Paik Award. In the same year, in 2004, Detanico and Lain participated in the Bienal de São Paulo, a feat that was repeated in the following two editions, in 2006 and 2008. In 2007, the duo represented Brazil at the 52nd Venice Biennale, Italy.


    Their works have been displayed in different contexts and countries, amongst others: Frac Provence-Alpes-Côte d’Azur; Marseille, France; Grand Palais Paris; France, The Club, Tokyo, Japan, Musée de lAbbaye Sainte-Croix, Les Sables-dOlonne, France; MUDAM, Luxembourg; Moderne Museet, Stockholm, Sweden, Projects Paralelo, Mexico; MFundação Iberê Camargo, Porto Alegre, Brazil, Kyoto Art Centre, Japan, National Museum of Contemporary Art, Athens, Greece, CA2M Museum, Madrid, Spain, Temple Bar, Dublin, Ireland and the 10t Havana Biennale, Cuba.


    Works by Angela Detanico & Rafael Lain are part of collections such as Musée du Louvre, Paris, France; FNAC, France; FMAC, France; FRAC île-de-france, Paris, France; Musée d’Art modern et Contemporain, Abbaye Sainte-Croix, Les Sables dOlonne, France; Taguchi Art Collection, Japan; Centro Calego de Arte Contemporânea, Santiago de Compostela, Spain; Cifo-Cisneros Fontanals Art Foundation, United States of America; Pinacoteca do Estado de São Paulo, São Paulo, Brazil; MAMAM, Recife, Brazil; and Museu de Arte da Pampulha, Belo Horizonte, Brazil.


    Although having trained as an actor, Annabelle Hinam (1997) sees writing and, increasingly, theatre making as the path she will travel. This first came to a fore with her 2021 graduation piece from the Hogeschool voor de Kunsten Utrecht in 2021, based on The Tragedy of Macbeth. Instead of using the original text, however, she rewrote the story placing Lady Macbeth and the witches at the centre. Following her graduation Annabelle Hinam created a theatre piece with actress Dagmar Ketelaers in the Amsterdamse Bostheater, loosely inspired by Rebecca Solnit’s book A Field Guide to Getting Lost. The work explored the definition of being lost, but also the necessity of losing oneself in these hectic times we live in now. Annabelle Hinam is a member of the Ensemble Nieuwe Theaterwerkers (ENT) and is the chair and founder of Speak Up Now! (S.U.N. HKU Theatre).


    A 2021 graduate of Amsterdamse Toneelschool & Kleinkunst Academie, Thor Louwerens (1997) made his theatre debut in the critically acclaimed Internationaal Theater Amsterdam production of The Damned. For a young actor, the opportunity to work under the direction of Ivo van Hove was both inspiring and encouraging. Louwerens credits this experience with bringing more depth and more power to his acting and has made him hungry for more live performance.


    Thor Louwerens has also appeared on TV in Ares, Flikken Rotterdam and Nieuw Zeer.



    For more information and images:

  • 01.12
    Carriers, an evening conversation

    Carriers, an evening conversation


    On Thursday 1 December ROZENSTRAAT hosts an evening of conversations and interventions with the five artists participating in the 2022 Sybren Hellinga Art Prize: Benjamin Francis. Olivia D’Cruz, Peter Scherrebeck Hansen, Sarjon Azouz and Vita Soul Wilmering.


    The five artists present installations at Kunsthuis SYB in Beetsterzwaag, comprising moving image, sculpture, ceramic and performance, in a group exhibition entitled Carriers on view until Sunday 4 December. These five works will be ‘re-presented’ at ROZENSTRAAT in Amsterdam, in a live form, a fragment or as documentation. From there, curator Titus Nouwens will initiate a conversation with the artists about their practice.


    Jury members Saskia Noor van Imhoff, Laurie Cluitmans and Sanne Luteijn write about the exhibition: ‘we sense a lot of connections and shared sensitivity about maintaining a self in a complex and violent world. We see a strong place for interhuman relations, ways of going against certain authoritarian structures and a search for healing and connection’.

    These concerns will be further explored in Carriers, an evening conversation.


    We hope you to welcome there.

  • 27.11
    Jeffrey’s Cinema #20

    DADDY (1973)
    Directed by Peter Whitehead and Niki de Saint Phalle
    90 minutes
    In English


    In the 1970s there was a lot of experimentation going on involving art and collective therapy. People would tap into their past personal history and re-create it in order to understand the roots of their problems. So in other words, after rebelling outwardly in demonstrations, they also began to fight internally to face their own demons. Believe it or not, we have blocked out a hell of a lot of the early experiences that influence our way of thinking and personality,especially events we would rather pretend never happened. When I met Alejandro Jodorowsky in Paris a decade ago, this was the kind of thing he was recommending to people to help them get over their


    So when director Peter Whitehead wanted to make a documentary about the fiercely independent sculptress Niki de Saint Phalle and her art, she said “sure, but HERE’S the script” and derailed the film into a psycho-sexual mindfuck, targeting Niki De Saint Phalle’s relationship with her overbearing and abusive father. So what we get is an explosion of psychoanalytic emotions, memories, erotic taboos, fantasies, transgressive situations, and accusations – all aimed against the Law of the Father. Let’s put this in context… behind all this was the fact that when Niki was in her twenties, her father admitted in a letter to having raped her when she was eleven years old. She concluded “The Summer of Snakes was when my father, this banker, this aristocrat, put his cock in my mouth.” This film is her attempt to exorcise the influence of her domineering father, and rebel against a world created by daddies (including the entire art world).


    So Niki returns to the chateau in the French countryside where she was raised. Scenes remembered and imagined are conjured up, as Niki recalls her childhood in a series of performance-adventures that include a huge phallus in a coffin, pubescent nuns stripping naked at an altar, scenes of masturbation, etc. There is no attempt to make these scenes polished or theatrical – they are meant to be raw and primal. At one point she imagines a confrontation with her dead father now that she’s an adult woman. It’s utterly bizarre. On the one hand it is a made-up fictional film, on the other it is a documentary of the psyche – both personal and collective. Scattered into these scenes we see Niki De Saint Phalle’s candy-colored art, along with her practice of painting by taking a rifle and shooting paint cans to make them explode.


    Another outrageously rare screening.


    Jeffrey Babcock

  • 27.11
    Lecture Ewoud Sanders – From ‘Kutwijf’ to ‘Coronawijf’ the history and development of Dutch curse words
    ROZENSTRAAT – A rose is a rose is a rose

    Join us for the finissage events
    November 27
    starting from 3.30 pm.


    From ‘Kutwijf’ to ‘Coronawijf’
    the history and development of Dutch curse words
    a lecture by language historian and journalist Ewoud Sanders


    Swear words are an integral part of Kathe Burkhart’s paintings. Her portraits are invariably accompanied by a curse or insult, often prominently in red block or decorative letters. Each word has its own connotation in terms of gender and time atmosphere. For example, ‘kreng’ is mainly used by, and for, women, and ‘zakkenwasser’ breathes the 80s. The namesake of the exhibition, ‘Coronawijf’, recently appeared in the Dikke Van Dale, and thus seems to have joined the unique and long Dutch tradition of swearing with diseases.


    How can the rise and popularity of certain swear words be explained? Why have words like ‘beftekkel’ practically disappeared from the arsenal of Dutch swear words? And how is it possible that swear words are (almost) always gender-related? During the event Van ‘Kutwijf’ naar ‘Coronawijf’ Ewoud Sanders will discuss these questions, and more.



    Ewoud Sanders is a language historian and journalist. His column WoordHoek appeared in NRC between 2000 and 2020. Since January 2021, this language column in which he writes about language and history can be read on the website of the Institute for the Dutch Language. Ewoud Sanders is the author of more than of 25 books and is considered an expert on the history of words and expressions. In 2021, he received the Groenman Language Prize, which is awarded every year to someone who excels by a clear, living use of language or to someone who writes about language in a lucid, informative, loving way.


    The lecture will be in Dutch.

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