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  • 20.03–29.05
    Rosebud #5: Jakup Ferri


    In Rosebud #5 we happily present three works on paper by Jakup Ferri (1981, Kosovo)!

    In line with the series’ approach, we show existing works that deserve to be seen (again).


    Animals, musicians, seemingly ancient symbols, strangely familiar decorative patterns and enigmatic constellations build up Ferri’s compositions. Some have an almost byzantine appearance. Others reveal a clear interest in folk- and outsider art. Although completely sprung from the artist’s imagination, the figures that show us festive activities or traditional events may well be a documentation of an unknown culture. The works are part of a series of mosaic pieces, meticulously crafted with small pieces of used paper. Industrial waste thus becomes a little piece of color in these works, gaining a completely different function while masquerading as small stones.


    Jakup Ferri studied at the Prishtina Academy and the Rijksakademie in Amsterdam. His work has been shown in many international solo and group exhibitions including The Autostrada Biennale in Kosovo; Muscle Memory at The Horse Hospital in London; The Hannah Ryggen Triennial in Trondheim; THE WHALE THAT WAS A SUBMARINE – Contemporary Positions from Albania and Kosovo at Ludwig Museum in Budapest; The Istanbul Biennal in Istanbul and Paper Vegetables at De Hallen in Haarlem.



    Courtesy: Andriesse Eyck Gallery

  • 29.11
    Jeffrey’s Cinema #9

    EDEN AND AFTER   1970
    (L’Éden et après)
    Directed by Alain Robbe-Grillet
    96 minutes
    In French with English subtitles


    The film starts at 5pm

    Limited seating, please register via

    Face mask required


    Welcome to the surreal world of Alain Robbe-Grillet, haunting images of shattered beauty, sado-masochism, poetry, and subversion. For Robbe-Grillet it is impossible to enter the realm of the imagination through the normal rules of filmmaking. His films always have a storyline which establishes a theme and its characters, but as it progresses the story becomes more and more loose until it splinters into another world of perception.
    This flick is a French-Czechoslovak production, and it seems to me that the director was always sympathetic to the former Eastern bloc, not for political reasons, but because it represented a phantom continent where people thought and acted and dreamed differently than in the so-called West. The story of this film follows some bored students who hang out in a weird café called Eden. One day they meet a Dutch man who offers them another possibility than school and lessons. He invites them to an event, but when they arrive they find him dead. That’s the beginning of this movie which focuses on the students as they follow the trail of this man’s origins, which lead them to the Tunisian island of Djerba. And the more they attempt to uncover the truth, the more hallucinogenic everything becomes.
    Visually stunning, the trip becomes an Alice-in-Wonderland journey for adults, a psycho-sexual maze, a mirror opposite to our conservative consumer society. The images are as stunning as anything in Jodorowsky’s films, but the storyline here is more warped and deranged and almost Lynchian in its multiple layers and obscure origins. The exotic locales and mysterious encounters multiply as this outlandish film unravels, including the kidnapping of a white European girl by Arabs. Cryptic, transgressive, sexy, and inspired by the atonal music of Arnold Schoenberg’s twelve-tone compositions! Hard art meets cinema.


    One viewer’s response:
    “Composed. Scary. Erotic, sexy, unnerving. Fragile. Paced. Sexy, erotic, unnerving. Calculated. Frantic. Pretty. Gialli. Unnerving, erotic, sexy. Meaningful. Naked. Hard. Meaningless. Ice-cold. Constructed. Warm. Erotic, unnerving, sexy. Art. Entertainment.  Warm, cold, erotic, unnerving. Eden and After is one of the strangest things I’ve ever seen. Did nothing happen? Did anything happen? Using cinema as a medium to explore the audience rather than it’s characters, a guitar strumming begins to sound like the most alien thing in the world.”


    This will be a high-definition screening.

  • 28.11
    Jeffrey’s Cinema #8

    The film starts at 5pm
    Limited seating, please register via
    Face mask required




    Born in Russia, in what is now the Ukraine, Eleonora Derenkowska came to the United States in 1922. At first she became a leading activist in the local socialist movement. She believed in alternatives and experimentation her whole life, and would soon establish herself as an avant-garde poet, filmmaker, dancer as well as an ethnographer. Her movies are considered to be the cornerstone of American experimental cinema.

    Meshes in the afternoon (1943) – 18 minutes
    At Land (1944) – 15 minutes
    The Private Life of a Cat (1946) – 29 minutes
    Ritual in Transfigured Time (1946) – 15 minutes

  • 13.10–18.10
    Rosebud #4: Go Eun Im – In the instant of a foreign garden

    Rosebud #4 – In the instant of a foreign garden (7’16) by Go Eun Im
    Tuesday 13 – Sunday 18 October between 2 and 8 pm. 

    In the instant of a foreign garden (2017) by Go Eun Im is an exploration of a diverse set of metaphors and meanings of the garden. The work refers among others to the imagined, mythical, historical and literary garden. The artist combines her personal experiences at the community garden in Amsterdam with notions of ‘becoming and belonging’ and with ideas of the garden understood as the beginning of the world, a lost sanctuary or a utopian place. In the instant of a foreign garden is also informed by an encounter the artist had with the French-Algerian author Hélène Cixous (1937), and her reminiscences of the garden from her childhood. For Hélène this garden was, and still is, a ‘magic circle’. During the war time in Algeria, the local French population planted restrictive rules that rejected her presence as a Jewish child in this ‘foreign garden’. Ever since she has continued to grow the dream of an inclusive and encompassing garden that blurs distinctions of inside and outside, of included and excluded.

  • 03.10
    Thus Spoke the Guaca, a lecture by Francisco Mojica

    Reflecting on his contribution to 2020, Francisco Mojica will delve into objects and materiality that bear force and interact with humans. The lecture is as an excavation of the uncanny manifestations of hidden treasures calling to be recovered, which range from pre-Columbian burial sites to the secret stashes of deceased mafia bosses. Beyond the bizarre nature of the guaca, this lecture aims to raise questions about modernity and subjectivity.


    Thus Spoke the Guaca takes place on Saturday October 3 at 4 pm. If you want to attend, please let us know via

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