Archive for the ‘exhibitions’ Category


If I had it, I would give it to you

May 6, 2014 posted in collaboration, events, exhibitions
Composite image by Susanna Browne and Alice Mendelowitz, 2014

11 – 24 May 2014
OPENING: Saturday 10 May at 18.00h

An interim exhibition featuring artists enrolled in the Master of Fine Art program at the Piet Zwart Institute:

Sol Archer
Sighle Bhreathnack-Cashell
Tiffin Breen
Susanna Browne
Hunter Longe
Alice Mendelowitz
Vasiliki Sifostratoudaki
Sriwhana Spong (feat. Anna John)

Special thanks to Katarina Zdjelar and Weronika Zielinska

For more info about the accompanying public program please check:
or email or
For more info about PZI please go to





Ways of Working, According to an Office Desk / documentation

May 4, 2014 posted in documentation, exhibitions, subsidy

Exhibition overview
From left to right: David Horvitz, Sally O’Reilly and Colin Perry

Exhibition overview
From left to right: Dina Danish, Jakup Ferri

Exhibition overview
From left to right: Sally O’Reilly and Colin Perry, Anca Benera and Arnold Estefan

David Horvitz, Deprofessionalize, 2014, poster stack, A2 posters, design by MyLinh Nguyen
Courtesy of the artist and Chert, Berlin

Anca Benera and Arnold Estefan, I work, therefore I’m Not, 2012-ongoing, mixed media installation
Courtesy of the artists

Exhibition overview / Detail
Céline Berger, Rare birds in these lands, 2013, video, HD, 16:9, black & white, stereo, 10’51’’
Courtesy of the artist

All images copyrighted by The Office for Curating, Rotterdam, Oblique International and Upominki,  Rotterdam.

Photography credit: Ghislain Amar / White Project

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Ways of Working, According to an Office Desk

April 1, 2014 posted in collaboration, exhibitions, money, subsidy

Céline Berger, Rare birds in these lands, 2013, video still, courtesy of the artist.

12 April – 03 May 2014
OPENING: Friday 11 April at 19.00h

I am in the studio, it is admin time. I open the mailbox, there is a new message from the photographer that documented my latest exhibition. He has provided the images of my work in tiff format only, so I convert the set to low-res jpegs in order to update my website and portfolio accordingly. Then I forward an earlier video work from 2008, via WeTransfer, to an artist-run space in Brussels. They are hosting a symposium on ‘Clean Aesthetics,’ but I won’t attend since my travel expenses cannot be reimbursed through “sudden budget limitations.” At the same time – upload time estimated at 2 hours and 41 minutes – I try to work through a pile of receipts I kept from my short residency in Riga earlier this year, as VAT returns are due in two days. Can I declare food and drink costs? The studio visit that was planned for later this afternoon was cancelled by the curator, and instead I spend some time on Facebook and Mousse Magazine’s website, rather than starting to read “Bells and Whistles: More Speculative Realism” by Graham Harman. Supposedly, this text could inform a new series of work… I leave the studio. I am taking over a shift from a colleague at the espresso bar… 

The group exhibition Ways of Working, According to an Office Desk brings together works by Anca Benera and Arnold Estefan, Céline Berger, Dina Danish, Jakup Ferri, David Horvitz, Sally O’Reilly and Colin Perry, and revolves around the question: “How to profess, rather than how to professionalise?” [continue reading]

Curated by Niekolaas Johannes Lekkerkerk (The Office for Curating, Rotterdam) in the framework of the
5½ Proposals to Work and Live in the Current Millennium programme by Oblique International (Patrícia Pinheiro de Sousa and Susana Pedrosa), in collaboration with Weronika Zielinska (Upominki, Rotterdam).

Ways of Working, According to an Office Desk is generously suprted by Gemeente Rotterdam and Romanian Cultural Institute Brussels

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fading films/fading frames : a transition

January 31, 2014 posted in exhibitions

Mathieu Gargam (FR), Noé Grenier (FR) and Sophie Valero (FR)

8 February – 2 March 2014

OPENING: Friday 7 February 2014 at 19.00h

fading films/fading frames : a transition brings together three young Brussels-based artists whose works explore the relationships of interdependence and transfer between different media formats. In particular, the project navigates the chemical and the electrical currents exchanged between digital and analogue media, and questions how format and context of use, might bring added layers of meaning to an object. Yet the ‘re-descriptions’ and format couplings we present here are far from nostalgic. Thus their aim is to challenge the viewers, asking them to rethink the way they have been educated to think about images and their bonds with different media formats. This is especially relevant in the era of the Internet with its social networks and search engines, an age in which our contacts with technology and media are profoundly being disrupted.

From the ground floor to the basement of Upominki, Mathieu Gargam, Noé Grenier and Sophie Valero present a collection of videos, photographs and sculptural installations. fading films/fading frames : a transition offers a path between past and future images. Today, filmographic mediums no longer depend on chemical or magnetic reactions, but consist of encoded language and data flow. It is inevitable that these changes have repercussions on the image itself and on the way images are being spread and archived. For instance, the digital format has raised a lot of questions regarding medium-term and long-term durability. Although this system has brought about a huge democratization of production tools, its development has been rash at times and the obsolescence it entails is in need of a thorough interrogation.

Starting in the late 1990’s, analogue technologies have been on the decline, while electronic and computing technologies have gained an important role in our everyday lives. The development of the Internet, search engines and social networks; of a new constellation of sources and links, has started to alter our archives and thus the way we relate to the past. New ways to pass on our memories, to be an author, a reader or a witness, are springing into life.  Yet, we still need to explore the full impact these changes will have on our modes of thinking. fading films/fading frames : a transition creates new paths for reflection, new mutations of our neural connections. It is important to connect to these networks, as they imply much more than a simple collections of images. They express a new navigational and organizational system of our knowledge, thoughts and views.


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Sanne Kabalt: Wolf hunt haunted / documentation

January 6, 2014 posted in documentation, exhibitions, premiere

Dissimilitude. Slideshow containing 3 slide projectors, 67 black and white slides mounted between glass, 85 cm x 105 cm each. Duration approximately 4 minutes. (Loop.). 2011.

Loom. Video projection with sound. Music composed by Frank Wol & Jannick Oeben. Duration approximately 2 minutes. (Loop.) Dimensions variable. 2012.

Loom. Detail.

Wolf hunt haunted. Video installation including two beamers, two screens, sound and electronics. Sound composed by Frank Wol & Jannick Oeben. Video duration 8 minutes. (Loop.) Sound continuous. 2013.


Sanne’s contribiution can be found in the Gift Shop



Sanne Kabalt: Wolf hunt haunted

November 13, 2013 posted in exhibitions, premiere
Still from Wolf hunt haunted, 2013

22 November – 20 December 2013

OPENING: Thursday 21st of Nowember 2013 at 19.00h

Wolf hunt haunted is a solo presentation of young Dutch photographer and video maker Sanne Kabalt. The exhibition borrows its title from the new video installation that will have its premiere in Upominki’s basement space. Created during a residency period in Transylvania, Romania earlier this year, Wolf hunt haunted reflects on the human approach towards wild nature.

In an inscrutable forest feelings of fear and longing for an encounter with a wild animal are equally present. Through Wolf hunt haunted Kabalt transports the viewer to the Transylvanian forest and asks him to remember the words of her guide: ‘If you don’t see them, it does not mean they are not there. The wolves always sense you before you see them.’

Next to the new work presented at Upominki, the exhibition consists of pieces made by the artist in the last two years. Through photography and moving image in her practice Kabalt researches the invisible aspects of human psychology and the idea of psychological projections. When giving the invisible a visual form, Kabalt also explores her position of a maker-photographer. Therefore she is constantly playing, or even manipulating, with that what is shown, and that what is felt.

Sanne Kabalt (NL) graduated from the Utrecht School of the Arts (2011). During her studies, in 2009 she has won ‘de Fotoprijs’, a prize for photography students. In 2010 she did an internship with Anouk Kruithof in Berlin. Since her graduation she has exhibited a.o. in the Netherlands: at the Nederlands Fotomuseum, Rotterdam, and Gemeentemuseum Den Haag. And abroad, in Raum für Kunst, Paderborn (DE), Copenhagen Photowalk, Copenhagen (DN).




Małgosia Goliszewska: I’ll call you when I get there / documentation

September 18, 2013 posted in documentation, exhibitions, functional objects and materials, projects, residency

3 chanel video installation: Grandma 00:02:06, Mom 00:13:07, Policeman 00:08:28

2 passport scans. Copy of the original police note, written in Polish. Travel ticket.

Video Curator 00:03:21

Video Landlord 00:07:16

I’ll call you when I get there is a joint project of two artists Weronika Zielinska, a Polish artist based in Rotterdam, The Netherlands, and Małgosia Goliszewska, based in Szczecin, Poland. Through a close collaboration between them, the project takes a form of looking at the other, research that deals with clichés and problematics of the complex relationships between two women-artists that work together within cultural field, while being observed from the perspective of an external viewer.

I’ll call you when I get there plays with an idea of a narrative, that in bits and pieces tells a story about two artistic practices each struggling with different, yet similar, obstacles. Whether it is an overprotective mother, or a wordy businessman, a decent curator or an accidental passer-by, the puzzles start to fit together once the viewer is left free to wonder around in a space. In between moving images that may seem fictitious, he/she finally also discovers some artifacts like scans of two women passports, a train ticket, and a police note with an original stamp.


For this exhibition Małgosia purchased different video and audio cables, as well as three sets of headphones, which then she donated to Upominki as a thank you gift.




Vova Vorotniov: Watching in my schoes / documentation

July 29, 2013 posted in documentation, exhibitions, functional objects and materials, residency


As a thank you gift for Upominki Vova donated self designed t-shirts which can be now purchased through our gift shop



Summer Program

June 15, 2013 posted in exhibitions, projects, residency

Between July and August, invited by us artists Małgorzata Goliszewska (PL) and Vova Vorotniov (UA), come each for a period of one month to work and live in the space. This residency project aims at creating new inquiries for the relations occurring between emerging Eastern European artistic practices, the Rotterdam (Dutch) art scene and its public.

Read more about projects by Vova Vorotniov and Małgorzata Goliszewska

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Take a breath… The best must come

January 18, 2013 posted in exhibitions, projects

Marijke Appelman (NL), Domenico Billari (CH), H.K. Rannversson (IS)

9 – 28 February 2013

Opening: 8th February 2013 at 19h

As a part of his project, H.K. Rannversson will give a performance in a form of a guided tour through his presentation on February 8th, 9th, and 10th at 17h. Please note that, due to the limited number of places, an email reservation is required. To inscribe, please send an email by February 6th to stating your name and date on which you wish to attend.

During probably the most exuberated week of art events in Rotterdam, Upominki presents three individual projects that each derive from a particular artist’s research. In ‘Take a breath… The best must come’ the visitor is drawn by an ephemeral experience of sensitivity and fragility. Here the nose, eyes, ears and touch are put to a test, which is one’s ability to reminiscence an experience.

Through this exhibition, Upominki not only wishes to expand the physical space of the works included, but also wants to stretch its own geographical location.  ‘Take a breath… The best must come’ presents works by Marijke Appelman, Domenico Billari and H.K. Rannversson that share a certain urgency towards what they might become.  And yet, when the time of the viewer’s expectation drags on, suddenly he or she realizes that nothing here is about waiting, but about being in-between. Here things hang up in the air, maybe they are even floating, but definitely not falling down. Moreover, since each of the presented works appears to no particular time and no particular place. Thus a moment when one is being stuck on the way from A to B, or aware that things need to be defined again, but not having a clue of who is going to that, and how. ‘Take a breath… The best must come’ is then the artists’ joint search for funnels, which proposes such moments of in-betweenness to be seen rather as productive modes that lead to somewhere. But in the end it also raises a question, where are we ourselves right now?

About the artists and their projects

Marijke Appelman (1979) recived her BA from Willem de Kooning Academy in 2008. Her works are based on an appreciation of art and life and are simultaneously lyric and straightforward. Everyday situations and materials are used in installations, objects and video. Resulting in an environmental art, but one whose environment is cultural instead of natural.

Domenico Billari (1977) holds a BA in Fine Art from the University of Applied Sciences HGK Northwestern Switzerland, Basel, Art Institute (2008). Received a scholarship from Pro Helvetia in 2007 and the studio IAAB scholarship for Paris (2009) and Rotterdam  (2012). Was nominated for National Prix in 2009, the Swiss art Award in 2010, the Suisse performance Prix in 2011 and won the Clavel Preis in 2012.

H.K. Rannversson (1981) holds a MA degree in Artistic Research from the University of Amsterdam (2012) and a BA degree in Art History from the University of Iceland (2009). He lives and works in Amsterdam and Reykjavík.




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