a rose is a rose is a rose


  • 07.05–01.06
    Now online! Personal tours of Hreinn Fridfinnsson’s exhibition
    ROZENSTRAAT – A rose is a rose is a rose

    Due to the global pandemic we had to close our exhibition Hreinn Friðfinnsson – MIDNIGHT JUMP sooner than scheduled. For those who missed the exhibition, we have two video’s for you to enjoy Friðfinnsson’s show.


    Halla Einarsdóttir and Hrafnhildur Helgadóttir have worked as Hreinn Friðfinnsson’s assistants for years. They were asked to present a personal tour through the exhibition MIDNIGHT JUMP by Hreinn Fridfinnsson.


    The doors to the exhibition were closed early due to Covid 19, but luckily they still kept the key. In fact, they have the key to the show, the storage, the stories and even to some of the secrets. While wrapping everything up you are invited to peek into Hreinn’s arcane archive of boxes, folders, rigmaroles and memories which they have compiled and categorised, yet continue to get lost in.


    This video was made for the public program of Hreinn Fri∂finnsson’s exhibition MIDNIGHT JUMP at Rozenstraat a rose is a rose.

    Curated by Corinne Groot & Rob van de Ven, Zapp Magazine and Studio Fri∂finnsson. February 15 – April 04 2020.



    Herewith an overview of the exhibition Hreinn Friðfinnsson – MIDNIGHT JUMP for those who missed it.
    MIDNIGHT JUMP took place at Rozenstraat a rose is a rose Amsterdam from February 15 – March 14 2020

    Credits: Zapp Magazine (camera and editing)

  • 19.03–07.04
    CLOSED | Rozenstraat will be closed until further notice.
    ROZENSTRAAT – A rose is a rose is a rose
  • 18.03–07.04
    Now online! Styrmir Örn Guðmundsson: Performance The Red Eyed Artist Assistant
    ROZENSTRAAT – 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.

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