Monday, 19 October 2020

From what will we reassemble ourselves

From what will we reassemble ourselves
6 Sep – 3 Jan 2021
Framer Framed: Oranje-Vrijstaatkade 71, Amsterdam

From what will we reassemble ourselves brings together six contemporary artists, a team of researchers, and an architect to consider a crucial question posed by Croatian-Bosnian author Jozefina Dautbegović: from what fragments – images, stories, archives, historical scraps – does one represent a life in the wake of genocide?

The exhibition positions the genocide that took place in and around Srebrenica, in Bosnia and Herzegovina, 25 years ago as a historical moment connecting all the artworks presented. Each perspective represented in the exhibition offers pieces toward the reassembly – towards reimagining – of the memory of violence and loss, acknowledging that lives continued to be lived in spite of that violence.

From what will we reassemble ourselves invites the viewer to both identify with and scrutinise the position of the bystander to genocidal violence – the one who is often neglected by the historical frame, or who remains unmarked, yet whose witnessing continues to be mediated through representation.

Installation design Arna Mackic. Foto: Eva Broekema / Framer Framed

With works by Lana Čmajčanin, Anna Dasović, Ana Hoffner ex-Prvulovic, Arna Mačkić, Marko Peljhan, Selma Selman, Hito Steyerl, Facing Srebrenica Project.

A group exhibition conceived by Anna Dasović and curated by Natasha Marie Llorens.
Exhibition design by Studio L A and Arna Mačkić.
The title of the exhibition is derived from Jozefina Dautbegović’s poem The Unidentified (2003).

Saturday, 17 October 2020

Klaas Rommelaere - Dark Uncles

Klaas Rommelaere: Dark Uncles 

October 4, 2020–January 31, 2021, Texture Museum, Kortrijk, Belgium

 "A man without a history or a people that forgot its past will have no choice but to disappear …“

Young Belgian artist Klaas Rommelaere (*1986, Roeselare, Belgium) wrote this quote by award-winning Japanese anime director Hayao Miyazaki on top of his newest project "Dark Uncles". Made completely in elaborated handicraft with needle, thread, wool and yarn, seven larger-then-life puppets plus two dogs, as well as 18 new wall pieces tell about the artist's autobiographical stories. 

In order to counter disappearance and to trace his own past, Klaas Rommelaere is building large-than-life doubles – "Dark Uncles" – of his own history. Bizarre effigies of seven of his closest family members – parents, sister, partner, grandparents and the two family dogs – move procession-like through the exhibition space and tell about experiences and memories of the artist's life. The anatomical sketch of a cranium on his mother's chest is evidence of her profession as a speech therapist; muscial instruments and cheering people point to the sister's job as a booker; and that the father once had a trade company for camping supply and additional worked as a truck driver can be read from numerous details on his arms and torso.
These personal stories of each single figure are complemented by testimonies such as pictures and memories from the family's history. Having welded sculptures from metail residues after his work at the melting furnace of a metal factory, especially the grandfather played a most important role for Rommelaere's artistic development – numerous references in several wall pieces as well as an own sculpture tell of this formative relation.
At first glance, these wild collages and scenic patchwork images appear like embroidered and knotted notes in yarn and wool. However, nothing about it is coincidental. Rommelaere assembles these perfectly imperfect scenes like a complex storyboards of a two-dimensional movie. In combining both coincidental and documentary topics and thus preserving autobiographical experiences through his artistic work, Rommelaere is building a parallel existence in fragments of his own history and thus demonstrates his own existence.
Klaas Rommelaere originally graduated from them Royal Academy of Fine Art in Ghent as a fashion student. After internships with Henrik Vibskov and Raf Simons, however, he quickly realized that the fashion world is not where his ideas can come to life. Inspired by movies, comics, books or personal experiences, Rommelaere thus began to translate his drawings with the language that was familiar to him – needle, thread, wool and yarn.
At the beginning he embroidered his stories on the canvas completely by himself, which took days and weeks; at one point he started to work together with a group of elderly ladies in his home town, who now help him happily ever since. Absurdly bizarre scenes of handcraft-pop thus result from cross-stitch, crochet or knitwear. His imagery is firmly rooted in both the everyday and the subculture of urban life in Antwerp; quotes of movies or animes are mixed with interpersonal observations. Larger-than-life figures and entire sculptures are embroidered and crocheted.
If Klaas Rommelaere is not working, you will most likely find him in the local art-house-cinema around the corner of his studio in Antwerp – he owns a season ticket there. In his multi-layered, sometimes bizarre-looking picture stories of his textile paintings, fragments of movies or situations of his own everyday life blur into powerful yet delicate snapshots. 

More about the exhibition:

Photography: Courtesy Erich Spahn / Galerie Zink Waldkirchen"

About The Undiscovered Future

About The Undiscovered Future publication by Content Story is premiering during Dutch Design Week 2020

To retain the thoughts that were extremely loud when coronavirus began to spread, we asked the creative community to answer two questions: -What are you grateful for? (It can be a small, personal thing that you have learned during this time) -What is your dream? (for the world after the pandemic) 

The outline of the Project was created at a time when coronavirus began to spread aggressively across Europe, North America (and the US), South America, Africa and other continents, with a declaration of a global pandemic following soon after that. The mission was to retain the values that were extremely clear during those days. 

'The responses we received were published one by one in the social media, with the assumption that they would be recalled in a year's time. However, having analysed the collected material, we realized that it formed a coherent message, a creative diary of that period. We have decided to publish it in a graphic interpretation created together with Michał Siciński.
We strongly believe that the work will become a compass of values around which we can build a new and better future."

Among the 25 personalities who shared their thoughts and dreams were: Alice Rawsthorn, BCXSY, Branko Popovic, Dominic Wilcox, Fernanda Torre, Formafantasma, James Auger, Jan Boelen, Karolina Hałatek, Kathryn Best, Koert van Mensvoort, Marije Vogelzang, Matylda Krzykowski, Ross Lovegrove.

Take a look at the publication: here

About Content Story

Established in 2017, the foundation has the purpose of implementing projects on the peripheries of design, art, technology and experience. At Content Story, we believe that there is power in creativity, conscious design and quality information, a power that enables people to create social change. To date, the Foundation organized 3 major projects: "BODY" exhibition during European Capital of Culture, "OVERLOAD" at Gdynia Design Days, and the conference "Undiscovered – Stories about Experience”.

Instagram @content_story_

Aida Šehović - ŠTO TE NEMA

2020 marks the 15th anniversary of the ŠTO TE NEMA project and the 25th anniversary of the Srebrenica Genocide. In 2020, for the first time, ŠTO TE NEMA was presented in Potočari/Srebrenica, the site of the mass atrocities, where it will remain permanently in its final iteration. 

ŠTO TE NEMA is a participatory public monument to the 1995 Srebrenica Genocide. Since 2006, this annual nomadic monument has been presented through an ongoing partnership between the artist Aida Šehović and Bosnian diaspora communities in various public squares around the world aiming to create sites of remembrance together. 

More information about the project:

Aida Šehović was born in Banja Luka, Bosnia and Herzegovina, and along with hundreds of thousands of others was forced to flee her country due to the threat of systematic violence and persecution in 1992. She lived as a refugee in Turkey and Germany before immigrating to the United States in 1997. Aida earned her BA from the University of Vermont in 2002 and her MFA from Hunter College in 2010. She received the ArtsLink Award in 2006, the Jacob K. Javits Fellowship in 2007, the Emerging Artist Fellowship from Socrates Sculpture Park in 2013, and the Fellowship for Utopian Practice from Culture Push in 2017. Her work has been exhibited extensively including at Flux Factory, Socrates Sculpture Park, 601 Artspace, and the Queens Museum. She was an artist-in-residence at the Santa Fe Art Institute, the Vermont Studio Center, and the Grand Central Art Center. Aida is currently part of an inaugural artist cohort at LMCC’s Arts Center at Governors Island in New York City, where she is based. 

 In addition to bringing the ŠTO TE NEMA nomadic monument to 14 different European and US cities to date, the archive of the project was presented as part of the ŠTO TE NEMA [Spatium Memoriae] installation at Artivism: Atrocity Prevention Pavilion organized by The Auschwitz Institute for Prevention of Genocide and Mass Atrocities coinciding with the 58th Venice Biennale. The same exhibition will travel to the Canadian Museum of Human Rights in 2021. An extension of the work in form of a photo installation titled ŠTO TE NEMA [Family Album] was exhibited partially at 601 Artspace in New York in 2018 organized by artist Paul Ramirez Jonas. Aida is currently working on an exhibition in Belgrade that will premiere this new body of work for the first time in its entirety in 2020.

Thursday, 15 October 2020

GRANDmothers - a project by Anna Radchenko

GRANDmothers - a project by Anna Radchenko

GRANDmothers continues Anna Radchenko’s body of work encouraging us to ask: “What if?” The project plays with the idea that we will eventually be able to have children later in life, to the extent where even as grandparents we will have the choice to become pregnant. Composed of a set of photographs and a short film, GRANDmothers stands as a humorous visual commentary on society’s pressure to become a mother by a certain age in order to still be considered valuable.

Featuring a cast of older models, GRANDmothers isn’t the first project in which Radchenko has addressed the issue of ageism in contemporary culture. Drawing inspiration from her own mother, Radchenko began exploring the topic with her 2017 fashion film Silver Goddesses in which she celebrated the beauty and spirit of getting older. GRANDmothers represents a continuation of this discourse by presenting creative, active, pregnant women who simply happen to be older.

As in Radchenko’s previous productions there is a strong fashion element in her latest project. GRANDmothers features a selection of up-and-coming and established international designers with a strong focus on Russian labels, such as Outlaw Moscow, Roma Uvarov Design and Fakbyfak. Seeing fashion as a way to express one’s creativity,she highlights how age should not be a constraint when choosing what to wear. Radchenko engages with the viewers’ perception through an aesthetic of opposition. From the styling and production design to the make-up and hair, GRANDmothers challenges our own bias by having us reassess our expectations of what is beautiful, youthful and empowering.  

Shot in Russia in what used to be one of the leading gynaecological hospitals in the country, the 1911 Hospital has been unused since 2013. The location also plays with our perception, combining the new with the old. Channeling a strong post-soviet aesthetic, we find pop band posters hanging on the wall, as well as Russian propaganda prints praising the traditional family. The result is an apparent eclectic ensemble, aimed at challenging what we know and take for granted, while leaving us wondering about what would happen if we stopped adhering to social norms and acting according to society’s expectations.

Artist’s Statement

“I was thirty years old when I became a mother. This made me think about how in the USSR I would have been referred to as an “Old Mother” on my medical card. Which is crazy when you think about it. Childless women over the age of forty or fifty are often seen as purposeless and they are encouraged to embrace a more sedentary lifestyle. On the other hand, men are perceived as getting better with age. This mindset is particularly true to Russia, though still very much present all over the world.

GRANDMothers is a reflection on this. It holds an element of criticism, but it’s also a positive reminder of how far we’ve come in terms of being able to make our choices. By having projects such as GRANDmothers published and shared online, I want to make a difference in shifting our mindset and allowing us to perceive ageing as something as valuable for women, as it is for men.”

GRANDmothers from Anna Radchenko on Vimeo.


Creative Director/Photographer: Anna Radchenko (@anna_radchenko)
Creative Producer (TRXTR_Prod) - Anastasia Limarenko (
Cinematographer: Dmitry Khon (
Editor, Colour Grader: Maria Gardash (
Gaffer, Camera Technician: Gueorgii Boldenko (
Retouching: PRO-POST Retouch (

Line Producer - Maria Vorobeva (@maria_vorobeva1)
Gaffer/Camera Technician - Gueorgui Boldenko (
Spark - Firdavs Bobonazarov (
Production Designer - Elya Strezhenyuk (
Unit Production Manager - Mark Lemanov (
Unit Prod. Assistants - Sasha Severinov (
@severinov_photo), Valery Roitman (@danger_pirate), Vitaly Laysha (@privetlaysha), Alexey Kozhin (@bykozhin), Timur Umiarov

Stylist - Maria Fionina (@masharadostnasha_)
Styling Assistants - Ivanilova Ekaterina (
@ivanilova_katerina), Lev Vorobyov (@blonde.driving)
Nail Artist: Dasha Meshcheriakova (
Make up - Sasha Yatsenko (
Make-up Assistant - Valentina Borisova (
Hair Stylist - Marina Yatsenko (
VFX Make-up - Alexandr Slepukhin (, Albina Boychenko - (@albina__albi__)

Brands: Alexander Arutyunov (@alexanderarutyunov_official), Misbhv (@misbhv), Sorry I'm Not (@sorryiamnot), Viva Vox (@vivavoxofficial), Outlaw Moscow (@outlaw_moscow), Dokuchaeva (@dokuchaeva_moscow), Paco Rabanne (@Pacorabanne), Rushev (@rushev), Anton Lisin (@antonlisinrussia), Roma Uvarov Design (@romauvarovdesign), Sergey Soroka x On Course (@sergeysorokaxoncourse), Yana Besfamilnaya (@yanabesfamilnaya_official), Adidas Originals (@adidasoriginals), Maison Margiela (@maisonmargiela), Fakbyfak (@fakbyfak), Marine Serre (@marineserre_official), Olga Sid (@olgasidart)


Galina Sokolskaya (@galinasokolskaya)
Natalia Balahnina (
@balakhninanata) at OLDUSHKA (@oldushkamodels)
Antonina Medvedeva (
Ludmila Zhirnova

About Anna Radchenko

Anna Radchenko is an award-winning director and multidisciplinary artist from Moscow, who now lives in London. She specialises in music videos, commercials, mixed media editorial projects and art installations. Graduating with a distinction in MA Fashion Photography from London College of Fashion, Radchenko’s films have been selected by some of the world’s major fashion and short film festivals including Berlin Commercial, Underwire, Aesthetica and LA Fashion Festival. Her vision is grounded in employing surreal ideas to create content that is both optically arresting and memorable. Anna is represented by Kode Media in the UK.




Thursday, 1 October 2020

Shoes Have Names

Jo Cope

Jo Cope and Shelter come together at Boutique by Shelter in a truly unique collaboration at Coal Drops Yard, for London Craft Week 2020.

Stories of homelessness have never been told like this before. Shelter has joined forces with conceptual fashion designer Jo Cope for the Shoes Have Names art exhibition. As part of London Craft Week, this free exhibition is being held at our wonderful flagship Shelter Boutique shop in Coal Drops Yard, between 30 September and 7 October 2020.

During the week, this exhibition and retail space celebrates the positive change Shelter has helped make to people struggling with bad housing through their advice and support services. Shoe designers from the UK/ Europe worked with individuals who faced homelessness to understand their story and their future hopes after working with Shelter. The exhibition aims to raise awareness of the thousands of people tackling evictions, poor housing conditions, landlord issues and homelessness. But Shelter gives hope. With the right support and by working together, people can fight bad housing and make a positive change.

The show features a collection of handmade artworks inspired by the personal experiences of real people facing homelessness. Ten international artists, shoemakers and designers were paired up with a person that Shelter has helped through its frontline services. From shoes made out of an old sofa, to the use of the latest CAD software and 3D printing, you can explore the journey of the art and the show on the Shoes Have Names blog.

Boutique by Shelter x Jo Cope
Jo Cope is a conceptual fashion designer working at the intersection of fine art, fashion and craft. She has curated the pieces for the exhibition alongside the Boutique by Shelter team. Since 2006 Jo has worked on a diverse range of commissions and exhibits which push the formal boundaries of fashion questioning its evolving role within art and society.
Shoes Have Names is a unique collaboration between Shelter Boutique, Jo Cope and ten designers/artists: Kobi Levi, Elisabeth Thorsen, Kristina Walsh, Liz Ciokajlo, Tabitha Ringwood, Daniel Charkow, Dr Ellen Sampson, Caroline Groves, Jana Zornik and Jackie Leggett

Monday, 28 September 2020

SAY IT LOUD at Bonnefanten

Brian Elstak

SAY IT LOUD is an international group exhibition by contemporary artists whose work explores subjects related to diversity and the colonial past, and their representation or interpretation.

Participating artists:
Kent Chan, Brian Elstak, Quinsy Gario, Ni Haifeng, Raquel van Haver, Hans van Houwelingen, Alle Jong, Kahlil Joseph, Patricia Kaersenhout, Kerry James Marshall, Tuan Andrew Nguyen, Otobong Nkanga, Alison Saar, Betye Saar, Juul Sadée, Henry Taylor and Kim Zwarts.

The artists in this exhibition work in different ways and in a variety of media, ranging from painting to performance, and from sculpture to video art. They each have their own spearheads: their work touches on representation, migration, diaspora, slavery, women’s liberation, structural economic and social exploitation, religion and war. They are united by their shared wish to broaden and diversify the historical and art-historical canon.

The artists look back, often from a personal perspective, on how colonial history has formed them and the world around them. They link their personal experiences to bigger events and processes, such as slavery, institutional racism and sexism, and representation. They explore how identity is formed and broaden the canon with a rich visual idiom and a wide range of often neglected stories.

SAY IT LOUD is part of the joint venture ‘Musea Bekennen Kleur’ (Museums Explore Colour), in which Dutch museums look at issues of diversity and inclusion within the museum sector. The approach taken by this joint venture focuses not only on the visible activities, but also – and especially – on the collaborative process. The participating museums are: the Amsterdam Museum, the Bonnefanten, the Centraal Museum, the Dordrechts Museum, the Frans Hals Museum, the Museum Arnhem, the Rembrandt House Museum, the National Museum of World Cultures, the Rijksmuseum, the Stedelijk Museum Amsterdam, the Van Abbemuseum, the Van Gogh Museum and the Zeeuws Museum. The ambition is that other interested museums also join in the venture. ‘Musea Bekennen Kleur’ receives support from the Mondriaan Fund. You can find more information on

Kahlil Joseph's video installation BLKNWS can also be seen at HipHopHuis, Rotterdam from September 11 on and at OSCAM, Amsterdam from September 17 on.

Saturday, 26 September 2020

Taskforce Fashion - Residency for Responsible Fashion

‘Taskforce Fashion 2020: Residency for Responsible fashion’

Yet again, FASHIONCLASH, M-ODE and State of Fashion have joined forces to investigate the relevance and the transforming role of fashion concerning social-cultural issues. 

Wanted: Designers willing to make a change! Are you eager to contribute to a better world? Are you not afraid to take on social responsibility within your practice? Then join the Open Call for our Residency for Responsible fashion. Our key question to you:
As a designer, how would you take social responsibility within your own practice?

Would you like to help the elderly, fight inequality, decrease segregation or battle any other social-cultural matter that stands in the way of collaboration, mutual understanding and solidarity?
Let us know what you stand for. Together we will dive into the societal impact fashion can have, by taking our responsibility and by taking action in three cities in the Netherlands: Rotterdam, Tilburg & Maastricht.

The deadline for applying is the 15th of October 2020.
To apply for our Residency for Responsible fashion, please fill in the form below. Don’t forget to carefully read and accept the terms and conditions.

Please note that this call is open for designers living and working in The Netherlands and Belgium.


Makes Sense Award Finalists 2020

Andrea Grossi

FASHIONCLASH presents the fourth edition of the Fashion Makes Sense Award, a recurring stimulation prize for a new generation of designers with innovative and sustainable ideas for the future of fashion. 

Two prizes will be awarded as part of FMSA: an audience prize of € 1000 and a jury prize of € 2500. The prize money is intended for the development of a sustainable work (e.g. collection, research etc.) Finalists will present their work during the Fashion Makes Sense Award Show on Friday evening 27 November during FASHIONCLASH Festival in Maastricht.
In addition, 1 outfit of each finalist will be exhibited within the New Fashion Narratives exhibition.

FMSA 2020 Finalists are:
- Arí van Twillert (The Netherlands)
- SANKIM (United Kingdom)
- ESRA COPUR (The Netherlands)
- Kevin Pleiter (The Netherlands)
- MARKO FEHER (Bosnia and Hercegovina)
- Andrea Grossi (Italy)
- Mathilde Rougier (France)
- MATTHEW NEEDHAM (United Kingdom)
- Saskia Lenaerts (United Kingdom) 

The fourth edition of the Fashion Makes Sense Award is presented within the framework of FASHIONCLASH Festival 2020 (27-29 November). During this three-day festival, a new generation of designers and (performing) artists from home and abroad will have the opportunity to show their work to a diverse and international audience. The program for the 12th edition consists of fashion shows, exhibitions, performances, fashion talks and crossovers with performing arts.

More about the program:
More information about Fashion Makes Sense Award

Sunday, 13 September 2020

Exposed 2020: Graduation KABK Fashion and Textile

On Thursday 10 September, the Textile & Fashion department of the Royal Academy of Art The Hague presented its latest generation of designers. The presentation of the fashion students, entitled KABK EXPOSED LIVE, kicked off the academy wide Graduation Show.
EXPOSED LIVE is the sequel to the launch of the digital presentation platform of the fashion and textile department:
The 2020 graduates are Eva Dimopoulou (GR), Hannakin Henriksson (SE), Haily Kim (KR), Tony Ta (NL), Hee Eun Kim (KR) and Inge Vaandering (NL). In EXPOSED they share their ideas and personal visions of the zeitgeist - mostly presented with alternatie and performative way.

After the live presentation, Inge Vaandering was named the winner of the annual Keep an Eye Textile & Fashion Award. The award was announced by a jury formed by fashion professionals Patrick van Ommeslaeghe and Branko Popovic. The prize, worth € 10,000, is awarded to support further development after graduation.
EXPOSED LIVE is created in collaboration with curator Maarten Spruyt and designer Johannes Verwoerd. 

Performing Identity of B.P.

In August this year, it is exactly 25 years ago that I arrived in the Netherlands together with my mother. We fled from the war in ex-Yugoslavia. In the night of 5 to 6 September 1995 we officially signed in to a new life in the Netherlands. 

In the weekend of 5 and 6 September Limburg Biënnale at Marres officially opened its doors. For this occasion, I am working on a small personal project. It is a visual report and reconstruction of personal and family stories and memories of life in Yugoslavia before the war, during and after the war. With this project I am revisiting the past, aiming to pay tribute to the traumatic experience that many people have experienced, in particular I see this a part of the healing process for my family, myself and hopefully to others. At this phase the project consists of a documentary photography, arheology of personal artifacts and short stries and thoughts on events that took place.
These stories are no more special than yours. But I feel the need to share them. What is not written, is lost. 
If you are interested you can follow the project via Limburg Biënnale is on show from September 5 to November 15. This exhibition brings together all kinds of artists, professionals, amateurs, and hobbyists in a festive celebration of the arts. 

Friday, 11 September 2020

Jan Fabre at the Napoli Teatro Festival Italia 2020


photo Wonge Bergmann


International Section:

Jan Fabre in the spotlight with his “Resurrexit Cassandra”


12th -13th September at Teatro Bellini 9 pm

Duration: 1h+20min

German performance with Italian subtitles

(with the support of the Goethe-Institut di Napoli)


A theatre performance similar to a “concert for images”, as it has been called by its director Jan Fabre, with a female character at the center of everything. Cassandra, the unheard prophetess, is now on the stage celebrating her resurrection. All this and much more you will find in “Resurrexit Cassandra”, the solo played by Stella Höttler, goddess and soothsayer at the same time, that will be staged on the 12th and the 13th at the Teatro Bellini, in the heart of Naples. Based on a text written by Ruggero Cappuccio, the performance directed by Belgian artist is broken down into five scenes, one for each element of nature. Thanks to these elements, which could be also regarded as hexoteric symbols in our lives, the ancient myth will be revisited in a modern way by German actress who is going to embody through words and emotions a contemporary Cassandra. She will try to speak with men once more, warning them of a disaster which they face, but now as then her words fall into empty space. It seems that nobody listens nor finds any recognition of what is happening. Not even a shred of faith remains. While everything is going frenetically and mankind is indulging in self-deception, two small turtles show us the true path for salvation which seems still reachable. Just believing it.


 photo Wonge Bergmann




Concept, direction JAN FABRE
Original music 


Light design 
Assistant to the director
& rehearsal coach LORE BORREMANS
Translation Italian-German
Translation Italian-English 
in coproduction with 



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