a rose is a rose is a rose


  • 28.02–04.04

    On view from 28 February until 4 April 2020
    Visiting hours: Wednesday-Saturday 13:00 – 18:00


    ROZENSTRAAT is pleased to present Never Again, a new project by Elisa Caldana conceived as part of the cycle Topography of Terror initiated in 2017 in dialogue with the artist Diego Tonus. Focusing on ways of constructing information in contemporary journalism, the cycle Topography of Terror articulates a reflection on the role and the value of images as tools to perpetrate terror and manipulate our perception of reality. Never Again is a new silent film and a continuation of the first film of the cycle, Topography of Terror (19.12.2016). On this occasion, the two films will be shown together in a two-channel installation specifically conceived for a dedicated space at ROZENSTRAAT.


    Both films are set in the never-realised building for “Topographie des Terrors” Foundation in Berlin, originally conceived by Swiss architect Peter Zumthor as a Documentation Centre, located on the site of buildings that during the Nazi regime were the headquarters of the Gestapo and the SS. A key aspect of the films installation is the virtual empty space of the non-existing building, which is filled with the voiceover of the main character – performed by actor and activist Khalid Abdalla – recounting a moment in the life of a journalist affected by secondary traumatic stress disorder caused by overexposure to violent imagery in the newsroom.


    Adding a new element into the virtual scenery, the silent film Never Again investigates with camera movements the first iconic building, deprived of its colours and material references, as if to deconstruct the essence of a voiceless character. It further contemplates the empty spaces through the impossible juxtaposition of a second architectural ghost, which originally occupied the same ground but in a different historical period.


    The project Never Again has been made possible thanks to the support of the Italian Council (7th Edition, 2019), program to promote Italian contemporary art in the world by the Directorate-General for Contemporary Creativity of the Italian Ministry of Cultural Heritage and Activities and Tourism. Never Again will be shown at the Zilkha Auditorium at Whitechapel Gallery, London (2020). A new publication will be realized with Mousse Publishing and the artwork will enter the permanent collection of the MAXXI – Museo nazionale delle arti del XXI secolo (Rome). The book – supported by the Hessische Kulturstiftung among others – will be available at the in-house bookstore San Serriffe and will be presented at a book launch soon after the exhibition period at ROZENSTRAAT.



    Elisa Caldana (1986, Italy) is an artist working primarily with sculpture, performance, film, and writing. Architecture, public spaces, monuments, and collective identity are recurrent themes within her work. Her work has been exhibited at the Tokas Hongo, Tokyo (2019); MAMbo Museum, Bologna (2018); ar/ge kunst, Bozen’s Kunstverein (2017); Sandretto Re Rebaudengo Foundation, Turin (2016); MMK, Frankfurt (2013). In 2020, she is a new participant at the Van Eyck, Maastricht.




    With the collaboration of
    ar/ge kunst Kunstverein (Bolzano), Mousse Publishing (Milan). Special thanks to Acme Studios (London), Peter Zumthor Studio, Mondriaan Fund, Diego Tonus Studio, and Argléton Studio.

  • 20.02
    Styrmir Örn Guðmundsson: Performance The Red Eyed Artist Assistant

    Doors open 19:30 performance starts at 20:00 sharp


    Styrmir Örn Guðmundsson: Performance The Red Eyed Artist Assistant


    A lyrical storytelling performance by Styrmir Örn Guðmundsson about the experience of working as an artist’s assistant for Hreinn Friðfinnsson. Specifically envisioned for the exhibition at Rozenstraat- a rose is a rose is a rose.


    Styrmir Örn Guðmundsson (b.1984 Reykjavik, Iceland) is a storyteller, a performer, a dancer, an object maker, an illustrator.  He has a love for the absurd, by which is meant less an obsessive passion for the ridiculous, nonsensical or the odd, than a tender and caring attitude: he takes care of the absurd, he helps it to develop, he gives it a place alongside everything else where it can be your most disturbing neighbour and your best friend.  More often than not Styrmir uses the written language as a genesis of his work. Written pieces are then adapted into live performances that activate objects, things and gestures. The performances and their narrative, that often are delivered as monologues, serve as an exhibition device for autonomous art objects. Styrmir studied at the Gerrit Rietveld Academy (2005-2009) and the Sandberg Institute in Amsterdam (2010-2012), during these years he worked as an assistant to Hreinn Fridfinnsson. Styrmir now lives in Berlin.



    This is me you are looking at. And in the picture I am busy at work. I am an assistant. I have been an assistant for a long time. Been struggling to assist an artist of another generation. Let me tell you about this artist. What he does on daily basis is that he sits at home on an elevated chair. He has a wooden table in front of him. And on this table there is an arrangement of of computers, keyboards and all sorts of electronica. And what he does there is that he remote controls the world he has created around him. So his task is to be a sort of “mothership” in a World of Art.

  • 18.02
    Talks inspired by Hreinn Friðfinnsson’s House Project

    Door open 19:00 lectures start at 19:30 sharp (event in english)


    Talks by Cassandra Edlefsen Lasch and Annabelle von Girsewald inspired by Hreinn Friðfinnsson’s House Project.


    In 1974, through an ephemeral gesture, Hreinn Friðfinnsson claimed the whole universe within the site of a small house, turned inside-out, in the middle of an Icelandic lava field. Encountered only through happenstance or hearsay, a timeless lore grew around the house. House Project became a resonating series of works, appearing in multiple iterations, inversions, and reductions in form.


    Cassandra Edlefsen Lasch will speak on Friðfinnsson’s House Project (1974–) in the vein of her essay “A Theorem of Inversion” written for the monograph Hreinn Friðfinnsson: Works 1964-2019 (London: Koenig Books, 2019), which took the ongoing work as its focus. Viewed through multiple lenses, such as quantum physics, her talk will propose the work as a lens itself. In this light she will also touch upon the publication homecomings 1, 2, 3, etc. (Berlin: Archive Books, 2018), which culminates a three-year co-curated group exhibition and symposium series of the same name inspired by Friðfinnsson’s House Project (1974–) and author Georges Perec’s Species of
    Spaces (1974).

    Annabelle von Girsewald will visit each iteration of Hreinn Friðfinnsson’s House Project from the prospects of the ideal, real and desire. How do his houses frame the meaning of ‘home’? How are notions of identity reflected in the house project? In 2005 Annabelle curated her first three part exhibition series in her apartment – “home is where the heart is”, “home is where the hurt is” and “homing desire”. The series was inspired by NOI♀SE: Network Of Interdisciplinary W♀men’s Studies in Europe summer school “Diasporic Identities and Mediated Cultures: Gender, History and Representation” which took place at Utrecht University 1999.


    Annabelle von Girsewald (1972, USA) is an exhibition maker, tour manager and art agent based in Berlin, Reykjavik and Sarasota. She obtained her M.A. in Empirische Kulturwissenschaften and American Studies from the University of Tübingen and her B.A. in Women’s Studies and Art History at the University of Wisconsin Milwaukee. Her academic ‘home’ themed shows started in her apartment in Frankfurt am Main 2005. She has been working with the Icelandic conceptual artist Hreinn Friðfinnsson since 2010. Recent projects include Earth Homing: Reinventing Turf Houses and Terminal Exhibitions. Terminal is an ongoing series of an exchange of Icelandic artists in an in between state of transit. She is currently developing Terminal Exhibitions in collaboration with the International Lunar Exploration Working Group, Institute of Earth Sciences Iceland and Universität der Künste Berlin.


    Cassandra Edlefsen Lasch (1984, USA) is a curator, editor, and writer based in Berlin, focused on the role of the editorial—processes of rereading—within artistic practice at large and at length. She holds an M.Litt. in Contemporary Art History from the University of Glasgow and a B.A. in Art History with minors in Political Science and Psychology from Santa Clara University, California. She has managed global publications with Hatje Cantz, served as Founding Editor at PRAXES Center for Contemporary Art in Berlin and within Bergen Assembly 2016, and liaisoned on behalf of international artists with the gallery neugerriemschneider in Berlin. The publication homecomings 1, 2, 3, etc. (Berlin: Archive Books, 2018) culminates a three-year co-curated exhibition and symposium series of the same name inspired by artist Hreinn Friðfinnsson’s House Project (1974–) and author Georges Perec’s Species of Spaces (1974). Her essay “A Theorem of Inversion” took House Project as its focus within the monograph Hreinn Friðfinnsson: Works 1964-2019 (London: Koenig Books, 2019). Recent and forthcoming publications under her editorial management include: Boris Buden, Transition to Nowhere: Art in History after 1989 (Berlin: Archive Books); Susanne Kriemann, Ge(ssenwiese) and K(anigsberg): Library for Radioactive Afterlife (Leipzig: Spector Books); Florian Neufeldt, Folds and Faults (Berlin: Distanz); and with editor Rhea Dall, Tempo Tempo Tempo (Oslo: Kistefos-Museet, 2019), and Wilhelm Sasnal: ENGINE (Oslo: Kistefos-Museet, 2018).

  • 30.01
    Zachary Formwalt – Where history passes into the setting

    Rozenstraat is happy to announce a series of events that will be developed with Amsterdam based artist Zachary Formwalt. Formwalt is developing a project in which Amsterdam’s monumental social housing projects from the 1920s are seen as contemporary ruins in relation to their original function as well-designed affordable housing for the proletariat. Though physically in tact to this day, they are no longer affordable for the class of residents by and for whom they were originally built. Listed as national monuments, historical preservation considers their physical construction to be of value, while turning them away from their original purpose. As cultural artifacts, pointing to a bygone era, they have become too valuable, like much of the city, to be inhabited by its own residents.


    The first event will be a screening of Alexander Kluge and Edgar Reitz’s 1974 film In Gefahr und grösster Not bring der Mittelweg den Tod (In Danger and In Deep Distress, the Middleway Spells Certain Death), which looks at the transformation of Frankfurt in the 1970s, through a mix of footage documenting police actions, evictions, protests, and interviews, while developing a set of characters passing through all of this. At certain moments, the setting, the events underway in the background displace the leading roles of the actors who find themselves in what Kluge refers to as the “public sphere of cinema.”


    Zachary Formwalt has presented solo projects at the National Museum of Contemporary Art of Seoul; Salon of the Museum of Contemporary Art Belgrade; Stedelijk Museum Bureau Amsterdam; VOX Centre de l’image contemporaine, Montreal; Casco—Office for Art, Design and Theory, Utrecht; Wexner Center for the Arts: The Box, Columbus, OH; and Kunsthalle Basel. His latest video Hoog Catharijne and its Models (2019) is currently on view as part of the exhibition Dromen in Beton at Centraal Museum, Utrecht.

  • 29.01
    Sol Archer – World-Building is a Collective Enterprise

    Rozenstraat is pleased to announce an ongoing collaboration with artist and film-maker Sol Archer. We open this collaboration on January 29th with a public moment of the in-progress work ‘World-Building is a Collective Enterprise’.


    ‘World-Building is a Collective Enterprise’ is a moving image project filmed with groups of teenage K-POP dancers who meet and rehearse in the open spaces around the modernist Museum of Modern Art in Rio de Janeiro, Brasil. The dancers use the museum windows to rehearse choreographies from K-POP videos, collectively making space for queer, trans, female, and young bodies to exist in public through globalised pop practices, a fluid, transient, occupation of the peripheries of officially sanctioned culture.


    Through weekends filming with these groups, ‘World-Building is a Collective Enterprise’ documents their collective creative practice occupying public space. Focusing on moments of casual hanging-out, of rigorous practice of routines, and of preparation, the work proposes rehearsal and amateurship as generative positions, which by elective creative acts, can produce and protect communities of resistance.


    On January 29th, the project will temporarily take the form of an expanded installation, and space to spend conversational time in considering amateurship as a position for building solidarity. You are welcome to sit with the work, and, if you wish, to share in conversation about world- and community-building, the process of filming, and the work itself.


    The installation consists of looped multi-channel projected video, with no screening schedule. Speech is mainly in Brazilian Portuguese with English subtitles.


    This project was made possible by the Capacete residency in Brazil, with support from the Mondriaan Fonds and the CBK Rotterdam.



    Sol Archer (1983) lives and works in Rotterdam, NL.
    Archer works principally with moving image as a shared space for encounter and auto-representation with communities of interest or place. Archer holds a Masters from the Piet Zwart Institute, recent residencies include the Jan van Eyck Academy, Maastricht; Capacete, Rio de Janeiro; Vicinities, Belfast; IASPIS, Stockholm; and recent exhibitions include Ascending from the Liquid Horizon, le lieu unique, FR; The Defying Parrot, Index Foundation, SE; TULCA Festival of Visual Arts, IR; and the Sydney Biennial, AU.

Meer laden