Nieuwstraat Festival

The Nieuwstraat is an average street in the city center of Dordrecht, the Netherlands.
The festival will take place in this street on Saturday 20 June 2020, between sunrise and midnight. From the received submissions, a varied program will be compiled. The performances will be carried out by volunteers, unannounced and with no explanation.
Taking place in everyday settings, the performances involve hiding the unusual within the usual. Passersby may perceive these actions, but not recognize them as performance art.

The Open Call:
Please describe your concept in a clear and accessible language, more or less as a manual. The performances will be carried out by (often unexperienced) volunteers.
Don’t forget to mention the preferred time of the day (in relation to the opening and closing of shops, outdoor cafes, the fruit/vegetable-market).
We can only accept your submission if you include links to a website or page with some information about your practice.

Please send your submission to
Deadline: Monday, 1 June 2020, 23:59 (CET).

The Nieuwstraat festival is organised by /

Edmund Felson presents Steve Giasson

From April 26  to April 28 Edmund Felson presents untitled (a living hippopotamus adopted collectively),
an exhibition by Steve Giasson at Gallery Weekend Berlin.

The Edmund Felson Gallery represents and works with internationally acclaimed contemporary artists. Each featured artwork is presented on and/or around the gallerist. Located in public space – on the bustling side walks of international capitals, in front of the most important art fairs of our time, next to renowned museums and collections. 

Off the record, on the QT, and very hush-hush
Sid Hudgens, L.A. Confidential

Ton Kraayeveld: Wall painting Synode (2018)

Ton Kraayeveld’s mural ‘Synode’  was developed as a work in commission. The mural is situated on the façade of the ‘Energiehuis’ in Dordrecht, the Netherlands. The ‘Energiehuis’ is the city’s major cultural centre which is home for various theatre stages and cultural institutions. In the used words, translated as:
the work relates to the actual moment of being present in time and place in relation to possible moments in past and future, as well as that it points to performances and events acually taking place inside of the building.
photo © FvL

Frans van Lent: Geo (2003)



For the 4th edition of the BregenzBiennale French curator Sophie Lapalu and  Austrian artist Albert Allgaier, co-founder of the BregenzBiennale, invited 46 international artists to create site-specific invisible interventions in and around Bregenz, Austria.
The biennale’s motto THE MAP IS THE TERRITORY reconciles radical conceptualism with subversive performance through a guide map that also works as the exhibition catalogue. Ranging from shamanistic rituals in the Casino to watering flowers with LSD, the works presented at the BregenzBiennale2018 juxtapose the poetic everyday with the mysterious and metaphysical. 

List of participating artists:

Lina Aušra, Francisco Babo, Samuel Bich, Simone Borghi, Elena Borghi, Godomira Buroskwy, Kevin Desbouis, Damien Dion, Victoria Durnak, Jona Einarson, Stefano Faoro,FAXEN, Romain Gandolphe, Steve Giasson, Akba Gurundi, Token Black Guy, Tim Hartmann, Stefanie Heine, Robert Huber, Florence Jung, Fatmir Mustafa Karlo, Stefan Klein, Marika Konstantinidou, Mikko Kuorinki, Sophie Lingg, Mmmmmegumi, José Oliveira, Will Owen, Alice Pamuk, Philipp Preuss, Anahita Rahzmi, Christopher Richmond, Valentine Ridde, Karl Salzmann, Liv Schulman, Driton Selmani, Lena Sieder-Semlitsch, Semino Spataro, Martin Sturm, Andreas Trobollowitsch, Emmanuel Troy, Salvatore Viviano, Robin Waart, Dimitri Waschkov, Noboru Watanabe & Bernhard Weber.

The catalogue of the BregenzBiennale2018 is published by Mark Pezinger.

The BregenzBiennale is supported by Land Vorarlberg and Bundeskanzleramt Österreich.

Museum Reinickendorf: Interventionen

Joshua Schwebel was invited to participate in the group show ‘Interventionen’ at the Heimatmuseum Reinickendorf in Berlin. Schwebel proposed to work with the museum’s Nazi artefacts. A video was made of the museum director handling and discussing these objects. Schwebel then addressed a letter to the director, proposing an artistic-symbolic reparation:

Dear Frau Dr. Gerner, Director, Museum Reinickendorf:

I am writing to follow-up from our interview last week, and to add a further act to my work. This letter and your response will become part of the work I will display in the upcoming exhibition.

I have been thinking ceaselessly about the objects we discussed in our conversation. How these glittering swastikas and adorned certificates made me tremble. They sat before us in archival envelopes as we talked, and I spoke with you about them as though I, too, recognized their historical value.

In our conversation you described how these objects were ‘donated’ to the museum anonymously and without adequate historical information, and that this lack of correct and complete data is disappointing from a museological perspective. Either the donors felt ashamed to have these souvenirs of NS times in their family’s possession, or else they wished that these objects endure as historical artifacts of the region. In either case, the artifacts themselves ​do​ still endure, and because they are under the aegis of the museum, they survive and are protected. I certainly recognize the importance of documenting, discussing, and acknowledging the historical events from this time, however, I cannot understand why it is necessary to preserve its objects.

I cannot but feel angry that I see no equivalent artifacts of Jewish culture and its everyday history existing in your museum. It is quite evident that there ​were​ Jews living in Reinickendorf, at least until NS times. But Jewish objects did not find their way into museum collections because they were stripped from bodies, which were also melted, burned, or otherwise rendered into fuel for war, hatred, and Capital. Jews are represented by death markers here.

In response to this asymmetry, I wish to work with you to perform a gesture of reversal: A repatriative extraction. Working together with you, I want to arrange for the long-term removal of one of the many Nazi artifacts from your museum. While this extraction can only serve a symbolic purpose, its effect would introduce a real absence into your collection; an absence which speaks more broadly to the collecting activities of museums, many of which retain similar problematic objects also justified by their historical value. The particular artifact and the exact extraction protocol can be negotiated with you, either a long-term loan or bequeathment, but on the agreed-upon date I will put an object in my pocket and leave the museum. I will not photograph, exhibit or sell the object, nor will I destroy it. I will act as a vehicle for the object’s release from the museum, its removal from the historical remembrance it does not deserve, and relieve the museum of the burden of its preservation. The absence remaining in its place – an empty glassine envelope and description of the no-longer present object – will bookend the absence pertaining to the provenance of these objects, and the representational absence of Jewish life in the district.

I look forward to your response,

April 16, 2018
Joshua Schwebel

As a result the museum has closed communication with the artist, and refuses to allow the artist to exhibit his letter. Schwebel’s work has been subsequently excluded from the exhibition, and Schwebel has received no response as to whether the museum will honour its contract to pay the artist for his work.
His name is no longer listed online amongst the contributing artists.

Joshua Schwebel
Museum Reinickendorf

Johannes Langkamp: Video sketches, fragment (2012-)

Inspired by the everyday, Johannes Langkamp (Laer 1985) makes short fragments of video with simple means, in a raw and sketchy style. His ideas develop during his experiments with the characteristics and the limitations of his tools (cameras, situations, displays), and through this process Langkamp works out rough sketches into installations that reveal the camera’s relationship with space.

In 2011 Langkamp resolved to make one video every day, during a month. These videos are often short and often a bit awkwardly recorded. The subsequent project was a ‘Video sketchbook’, a series of short films in which the camera itself becomes the main subject: it is crushed between elevator doors or mounted on an electric drill. The work of Langkamp is based on simple observations, presenting physical reality in an unusual and personal way.

Niekolaas Johannes Lekkerkerk: The Standard Book of Noun-Verb Exhibition Grammar (2018)

The Standard Book of Noun-Verb Exhibition Grammar
 is a partial compendium of the different modes of being that inhabit exhibitions. These different modes of being, often placed outside the realm of art objects proper, are described and activated here as crucial players in the world of contemporary art.
Maximizing a poetic resourcefulness, this book proposes the exhibition as an ecology full of things that are infinitely more dimensional than their ascribed functionality would lead us to believe, and creates a space where species meet, where ontological and epistemological registers clash, overlap, and contaminate each other, where the living and inert, organic and inorganic exchange properties, qualities, and performances.

Ultimately this book aims to show that what revolves around, within, and beyond any given system, resolves to be just as serious and important as what that system aims to convey.

Niekolaas Johannes Lekkerkerk: The Office For Curating