Archive for the ‘documentation’ Category


ARTIST4ARTIST – The economic performance / selection of images

June 30, 2013 posted in documentation, labour, money, projects, subsidy

ARTIST4ARTIST temporary office at Upominki

workshop Brave girls sing! Walk taller, speak louder  

brainstorm with Creasies – network of Rotterdam women entrepreneurs

workshop with Jessica Sligter, recording-artist based in Amsterdam

ARTIST4ARTIST – The economic performance was a project between Upominki and ARTIST4ARTIST. Our collaboration was based on the agreement of 12.5%; from each money earned by A4A 12,5% fee (for use of the office and other facilities) was paid to Upominki. Respectively, Upominki paid 12,5% to A4A from the subsidy they recived to realise the entire project. Last but not least, thank to our collaboration and according to A4A working method, during the summer we were able to fundraise two working periods for artist-in-residence.

ARTIST4ARTIST – The economic performance was made possible with the kind support of Gemeente Rotterdam. For more info about the project please go here. The educational program Brave girls sing! Walk taller, speak louder was made possible with the kind support of Het Rotterdamse Vrouwenfonds.

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Take a breath… The best must come / exhibition documentation

February 28, 2013 posted in documentation, functional objects and materials, projects

Marijke Appelman Closing the Gap, video and sound installation, 2012.

Installation view

Marijke Appelman, Because it is about Time, framed fabric and baklava, 2012.

Based on the time spent in (and between) Istanbul, Turkey and Amsterdam, The Netherlands these two works reflect on the continuum flux of time, space and patterns. Here Appelman works with materials found in both places whereas through the presented video – material from the time spend in the airplane – she formes a certian distorted reflection in the end. Yet reduced, mirrored and combined into an installation, Closing the Gap and Because it is about Time are showing not only a curve in time, as a continuum, but also speak of fading in patterns and blurring the structure of our cultures.

Domenico Billari The best must come, toothpick with a laser engraved text.

Within the framework of this exhibition on the 6th of February 2013, a performance by Domenico Billari took place during the opening of the Rotterdam Art Fair.

For “Take a breath… The best must come” (also the title of Billari’s performance) ten actors were asked to wear a perfume he produced, and walk casually among the art fair public. With this act he aimed to bring a new dimension to the venue, such as, spreading a rumour and putting the focus on ordinary visitors.

Billari’s concept involves both the originated and the familiar tone. The peculiar ingredients of the fragrance, Bergamotto and Ginestra, both come from Calabria, Italy. Through this gesture – interfering a closed system of an art fair – his intention became a happening that is outside of its regular place, the exhibition space of Upominki.

With special thanks to: Anna, Cristina, Eric, Guiseppe, Malou, Marie-Sarah, Martijn, Mirjam, Jesse, Paco, Weronika and Wilfried Lentz.

H.K. Rannversson BOOKS TO BE LOOKED AT, ART TO BE READ / Installation view

H.K. Rannversson BOOKS TO BE LOOKED AT, ART TO BE READ / Installation details

BOOKS TO BE LOOKED AT, ART TO BE READ a project by H.K. Rannversson examines the contradictions of exhibiting books as works of art, through a display of multiple copies of the artist’s book CIRCLES by Kristján Guðmundsson (b. 1941, Iceland). The book, considered a work of art, was published in conjunction with the artist’s exhibition at the Stedelijk Museum in late 1973 in an edition of 500 copies. However, the book is also considered a museum catalogue, listed number 550 in the directory of the museum. Thus, CIRCLES is perceived as one of the earliest Dutch examples of a catalogue that also serves as an autonomous work of art.

BOOKS TO BE LOOKED AT, ART TO BE READ raises questions about the publication, dissemination and (re)presentation of books within the artworld, whereby pointing towards the function of the book as a medium for artistic practice. The project displays copies of CIRCLES from H.K. Rannversson’s own collection, which he has collected in recent years, as well as from private collectors.

In reciprocity act all three artists decided to leave materials they use to install, or to produce, their work for this exhibition. In addition Upominki received: two wooden plates aprox. 2x2m, a DVD/ Beamer cabel, a stamp with Upomiki web address, and a box full of A0 white foam plates.




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The Force Of Freedom: TELEWAR / documention

January 10, 2013 posted in documentation, functional objects and materials, projects

Telewar, 2012 edition of 25

The publication, next to the spatial presentation, is a collection of thoughts, found footage, Internet published articles, and different privite materials gathered in the web that, speak about “drone technologies and contemporary conflict, which manifests itself as much on the ground as it does in the media” (Telewar, introduction). The zine was put together within the three weeks of The Force of Freedeom working period. The artists do not consider it as a definite outcome from out of their research, but more as a step towards further investigation, which is meant to start a dialogue and create a certain awareness. The publication is still available to purchase for €10. Please contact us if you are interested.

After the project was realized 10 publications will donated to Upominki.

To read more about the project, go to Telewar

(all pictures courtesy of the artists)





HARD-CORE: Ultimate Harmony / documentation

November 26, 2012 posted in documentation, functional objects and materials, money, projects
“Who does not know this feeling, when entering an exhibition, want to swap things around and reposition the works? Well, this is your chance! We would like to invite you for a hands-on co-re-curation of the exhibition ‘Ultimate Harmony’ at Upominki. Come and decide with fellow viewers what is the most optimal assemblage of this exhibition!

For ‘Ultimate Harmony’ Upominki was asked by the HARD-CORE group to organize an x amount of enthusiastic people who would wish to re-co-curate their project.  However instead, we chose to put the invitation on Facebook, and make it into an open call. Within a few days, posted as a public event the open call started by Upominki, gathered more than 15 people interested in the idea, yet first eight who reacted have been invited to participate at the end. (Text above is the original open call posted on the social media website.)

On the 9th of November the first group of co-re-curators started assembling the exhibition. Their task was to place the works in their most suitable positions. However because no work was physically presented to this group, instead each artist made an introduction on his/her piece i.e. the content of the work and some practical information (rough dimensions and the amount of equipment). Yet no visual material explaining the work or equipment being used was present during the artists’ presentations.

The second group of co-re-curators, invited on the 12th of November, was introduced to the project while the space was already filled with works according to the instructions given by the previous group. Surprisingly the focus of this team was mainly the conceptual part of the works, and how this could be highlighted in a group exhibition like this one. Such an approach resulted in the necessity of finding the most formal way of presenting each of the work.

On the 13th of November the last group came to co-re-curate ‘Ultimate Harmony’. While dealing with the two statements made already by their proclaimers, they managed to re-think the positioning of the works again, and found a way to communicate the entire exhibition with the audience. This group was asked by HARD-CORE to write a curatorial statement at the end.

The pictures below show the documentation of the very last set up. They are the result of curatorial decisions made by the last group yet with the consideration of all previous ideas.

Co-re-curators: Bas van Liempd, Dico Kruijsse, Georgie Harris, Jessica Tankard, Just Quist, Renée Staal, Roos Wijma, Rosa Sijben

‘Ultimate Harmony’ exhibition in three stages:

Eloise Bonneviot The infernal design 

Anne de Boer Icosahedron ico 1; Icosahedron ico 2; Icosahedron ico 3;

Hrafnhildur Helgadóttir An attempt to compose a self-aware art object

exhibition view

Daniel Dressel Untitled (detail)

exhibition view (on the right  Ada Avetist 6a: C.C. XIV 6b: C.C. XIII)


Our great exchange has been also expressed in money and objects both contributed by HARD-CORE. Upominki received €120 in cash, and some kitchen equipment also we earned €150 during our opening.




Ding Ren: when a line becomes a mountain / documentation

October 30, 2012 posted in documentation

Exhibition views


Slide projection in the basement

For more info about the exhibition please go here

Ding’s contribution for Upominki is for sale in our gift shop




Ties Ten Bosh: I don’t quit my daytime job / documentation

September 30, 2012 posted in documentation, functional objects and materials

Exhibition views



Ties Ten Bosh offered Upominki a movable wall (see the 2nd picture from down). Thank to his gift, within the exisited structre, we hope to create a new working space that will be used in our daily office practice.



Paula Salas: Brought by the Rivers / documentation

September 20, 2012 posted in documentation, functional objects and materials, money, projects, residency

(Read more about Paula Salas’ project here)


Brought by the Rivers became an experience one of a kind; same for the artist who had the chance to be the first resident working and living at Upominki, as for the people living and working in the buildings around the space itself. Salas not only deliverd an amazing visual work with a temporal character, but especially, she managed to create an atmosphere, which will remain in our memories for a long time.


Brought by the Rivers was kindly supported by the University of Amsterdam and Gerrit Rietveld Academy in Amsterdam, Het Lectoraat Art & Public Space (LAPS).





In exchange, artist Joaquín Cociña (husband of Salas who also lived at Upominki for one month), shot a video for us that we will be presenting during our project at Kunstvlaai Festival of Independents | INexactly THIS (23.11- 02.12.2012)


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ELECTRIC DREAMS (after LaMonte Young, Brion Gysin, Phil Oakley) / documentation

July 25, 2012 posted in documentation, events

Artists’ bio



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Jesse Walton / documentation

July 6, 2012 posted in documentation, money

acrylic on bandanas on canvas
325 x 120 x 20 cm

acylic on bandana, wood
60 x 10 x 130 cm


Exhibition views

Pictures by Ghislain Amar





wood, acrylic paint
120 x 120 x 4

Picture by Ghislain Amar



My first solo with… / documentation

May 31, 2012 posted in documentation, functional objects and materials, labour, projects

Anna Luczak, doorbell / made possible with the kind support of Ton Kelder

Anne Fé de Boer, performance speech

Dico Kruijsse, rostrum and moneybox

Ghislain Amar, steps twice / made possible with the kind support of Ton Kelder

Marc Klein, lightbox (above) and table

Marie-Sarah Simon, garden/ing

Mathijs van Geest, mugs

Riet Wijnen, puzzle

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