a rose is a rose is a rose
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ROZENSTRAAT is proud to announce Untitled Ceremony #16 Béatrice Balcou, a presentation organised in collaboration with Tlön Projects.
Tlön Projects invites curators, artists, authors and thinkers to enter into a dialogue with and develop innovative, noteworthy presentations of works on the basis of their imaginary collection or “museum without walls” at different locations. French artist Béatrice Balcou (1976) will select an as yet unknown work from the collection in the context of a ceremony as well as presenting new works from the series Porteurs and Containers which she made in 2020.
Béatrice Balcou’s works are well thought-out exercises in attention – that increasingly scarce and yet, oh so precious of human capacities. Over the years, she has developed an oeuvre that purposefully explores the boundaries between art and framework. Since 2013, Balcou has been working on a series entitled Untitled Ceremonies, performative actions that take place around an existing artwork from a public or private collection. The work in question is carefully unwrapped and re-packed in the presence of a limited audience as part of a gestural choreography that focuses attention on the work’s concrete materiality [i]. During Balcou’s secular ceremonies the works are declaimed as it were; they are – temporarily – released from the obscurity of the collection and revealed to an audience. There is phenomenological pleasure to be had from the way the work’s meaning is divested of every utility or exchange value solely by interacting with it [ii] as well as how it declares its independence from every economic framework before it is returned to storage. The same applies to Balcou’s series of placebo sculptures (2014 – present), wooden replicas of artworks featured in ceremonies. These wooden objects originally served as substitutes or props for rehearsing the ceremonies, yet have slowly, but surely demanded autonomy.
Untitled Ceremony #16 will occasion the publication of the essay Ceremonies, Relics and Props – On Béatrice Balcou’s Work written by art historian, lecturer, researcher and curator Pieter Vermeulen (Antwerp, 1983).
Béatrice Balcou was born in Tréguier, France in 1976. She lives and works in Brussels. Various international institutions including M Museum, Leuven; La Ferme du Buisson CAC, Noisiel; Art Hostel Kumagusuku, Kyoto; Exile Gallery, Berlin; L’Iselp, Brussels; Casino Luxembourg CAF, Luxembourg; Le Quartier CAC, Quimper; and the FRAC Franche-Comté, Besançon have organised solo or duo exhibitions featuring her work.
Furthermore, her work has been exhibited at Jeu de Paume, Paris; Société, Brussels; FRAC Champagne-Ardenne, Reims; Fondation CAB, Brussels; Salle Principale, Paris; Villa Kujoyama, Kyoto; Kunstverein Langenhagen; FRAC Bretagne, Rennes; La Galerie CAC, Noisy-le-Sec; WIELS, Brussels; FRAC Franche-Comté, Besançon; Centre Pompidou, Paris; and the Palais de Tokyo, Paris.
Béatrice Balcou’s work has been collected by many including Cera–M Museum, Leuven; Fondation CAB, Brussels; CIRVA, Marseille; FRAC Franche-Comté, Besançon; FRAC Île-de-France, Paris; Centre National des Arts Plastiques, Paris; FRAC Corse, Corsica as well as various private collections.
Balcou’s monography Ceremonies & with essays by authors including Vanessa Desclaux, Christophe Gallois, Zoë Gray, Béatrice Gross and Eva Wittocx was published recently.
[i] Simultaneously, it is an echo of the often overlooked professional art handling practice.
[ii] “Gesture is the name of this intersection between life and art, act and power, general and particular, text and execution. It is a moment of life subtracted from the context of individual biography as well as a moment of art subtracted from the neutrality of aesthetics: it is pure praxis. The gesture is neither use value nor exchange value, neither biographic experience nor impersonal event: it is the other side of the commodity that lets the “crystals of this common social substance” sink into the situation.” Giorgio Agamben, Means Without End. Notes on Politics, tr. by Vincenzo Binetti and Cesare Casarino, Minneapolis: University of Minnesota Press,  2000: 79.
06.11.2021 14:00 and 17:00
A ticket for attending a performance is required.
You can book a ticket here: satellite.eventgoose.com
Chris Bestebreurtje and Petra Kuipers
24.10–17.1019:00PERFORMANCE by Mounira Al Solh i.c.w. Jana Saleh‘The public is outside the tent and can only see the shadows of my projections, hear my voice and the playing and sound interventions of Jana that guide the rythm of the performance.The performance is a text I wrote based, first of all, on my quotidian interpretations of the old names of the hours in Arabic, and connecting them to what is happening today; to ideas of women that are not coming from the Western position but are at times inspired by them and aware of them. These hours of the day and night in Arabic are 24 names, compiled by Al Thaalibi (961-1038). These names are embroidered on the tent, transformed into embellished patterns, and sang in the performance.In addition to the personalised notions of time, positions in relation to Lebanon’s political contexts, its revolution and its aftermaths, intertwined are ideas of cleaning/ness based on the prayer rituals practiced usually five times a day in Islam; each time to a different hour of the day/night, connecting to the sky, the moon, the movement of the stars and the planets.Questions regarding the position of women and mulptiple genders are liturgically at play, welcoming and persuading everyone to join the circle and liberate all humans from patriarchal oppression. Thus I sing, I dance, I speak to evoke what is at stake.– Mounira Al Solh////This performance takes place within the context of the exhibition Interwoven Histories and is organised by Touch/Trace.Written and Performed by Mounira Al SolhMusic created and played by Jana Saleh
Props: Handmade and handembroidered tent, sheet, overhead projector, projected texts, base guitar, amplifyers, speakersThe performance can be attended at 19.00 or 20.30 and will endure approximately 30 minutesOrder your ticket here!please note that a valid COVID QR code and ID card will be checked at the entrance.
01.0821:00Jeffrey’s Cinema #10
The Vampires of Poverty, 1977
Directed by Luis Ospina
In Spanish with English subtitles
The Vampires of Poverty can be regarded as a satirical examination on the opportunism of “poverty-porn”. Masqueraded as a documentary, this Columbian film follows a team of filmmakers roaming the streets of Cali in search of images of abjection and victims of poverty for a television program commissioned by a German channel. A daring criticism against the potentially exploitative nature of socio-political documentaries, The Vampires of Poverty questions the veracity and intention of the images we see on-screen and invites the viewer to critically engage with the moving pictures that feed us knowledge.
Waar de Ratten Koning zijn, 1985
(Where the Rats are King)
Directed by Barbara den Uyl
In Dutch with English subtitles
Back in the 80s the area of the Staatsliedenbuurt in Amsterdam west was one of the poorest parts of the city, and a sort of self-declared free state with a thriving alternative community. In that period of time, alternatives were the mainstream, and this is a perfect example. The squatters, punks and local residents banded together to keep their world free. The mayor of Amsterdam tried to recapture this autonomous area of the city, and on the streets there were huge battles between residents and the authorities. Documentary filmmaker Barbara den Uyl was part of the legendary Amsterdams Stadsjournaal film-collective. She lived in the Staatsliedenbuurt, and for a year she recorded the issues that were in the air, recorded the confrontations, and what life was once like in Amsterdam before the scorched-earth policy of gentrification.
Doors are open at 21.00. The program starts at 21.30!
Limited seating. Please make your reservation via email@example.com
16.0714:00Nick Huls in conversation with Rainbow Soulclub about Ubuntu
“The individual is not complete without the other,” says Mogobe Ramose.
According to the South African philosopher, Western thinking has degenerated into self-interest and greed.
Instead, we should strive for connection and justice. In short, to Ubuntu.
During his guest lectures in South Africa, Nick Huls, emeritus professor of sociology of law in Leiden, became acquainted with Ubuntu. This humanistic philosophy of life differs radically from individualistic Western thinking. Ubuntu represents an attitude to life that starts from the realization that nothing is fixed. Life is an endless process of coming into being, decaying and coming into being again, and during this process everything is connected and dependent on each other. A person can only be happy if others are too.
Rainbow Soulclub is a collective of artists and visitors of the De Rainbow Group foundation in Amsterdam*. As a collective they make works that would not have been made without each other; the exhibition in Rozenstraat a rose is a rose is the result of the sharing of ideas and a joint work process. In addition, Rainbow Soulclub is also a solidarity collective, members have known each other for a long time and support each other in difficult times.
This conversation takes place within the context of the exhibition Rearrangement of Priorities #9 (home) in ROZENSTRAAT a rose is a rose. Since ‘Covid19’, all members of the Rainbow Soulclub have had a -temporary- roof over their heads. Unfortunately, this emergency shelter will soon be scaled down again and the question is how long the members will have shelter and where the next chapter of their lives will take place.
In an informal setting, Nick Huls and members of the Rainbow Soulclub will exchange ideas about the importance of Ubuntu and how this philosophy of life can be of interest to us in the here and now.
*The Rainbow Group foundation provides shelter and support for homeless people in Amsterdam
Maximum number of visitors: 25
03.0711:30old love/new love walk with Robin Waart
old love/new love walk on Saturday, July 3 at 11:30 AM
We are happy to invite you for a special walk on Saturday the 3rd of July at 11:30 AM organized in collaboration with rongwrong and lead by artist Robin Waart.
The walk opens up his current project old love/new love by physically connecting rongwrong and ROZENSTRAAT with the billboards spread around the city containing a selection of phrases about love that Waart collected from 160 films for his artist book EVOL/LOVE.
We will start by meeting at ROZENSTRAAT – where you can see one part of the double installation that Waart made on the occasion of the launch of EVOL/LOVE – and then move together through the city. There will be few reading-chatting stops around the billboards in an attempt to bring to live the multilayered psychogeography of Amsterdam. For example one of the billboards is next to the club De Trut on the Bilderdijk, a place filled with ephemeral traces of powerful, unconventional, and fragile relationships, bonds, and experiments for many inhabitants.
The last destination will be rongwrong, where we will have a ‘rose drink’, visit Waart’s installation and his guest curated exhibition For, after, to and because with works by Carel Blotkamp, Peter Downsbrough, Hermann Gabler, Pati Hill, Bunny Rogers, Mitchell Thar and Emily Wardill.
We will be strolling but comfortable shoes are advised upon discretion. The walk takes approximately two hours.
The radio broadcast evollove.nl accompanying the billboards, a screening of all 160 movies that make up EVOL/LOVE but without the picture (with a duration of 11 days, 19 hours, 26 minutes and 51 seconds) will be available for continuous listening until 3 July, 17:26:51, announced and framed by interventions in Het Parool on June 17 and this Thursday, 1 July.
Robin Waart’s work begins with the words of others. He uses repetition and collecting as a framework for projects with books, movie stills, photography and book pages to scratch at questions of (dis)continuity, what it means to do, and look at, the same thing over and over. Waart (NL/UK) lives and works in Amsterdam.
EVOL/LOVE is made possible by the Mondriaan Fund, Harten Fonds, Amsterdams Fonds voor de Kunst and will be available at Rozenstraat and De Appel. Thanks to Baptiste Pinteaux, Nicole Huard, Air de Paris, Romainville and Société, Berlin