In May, three events will coincidentally explore how publishing artists turn to fiction. For Hoogtij#57, the collective Das Leben am Haverkamp is invited to organize an event around their work at the Zeeuws Museum, where they created an entire collection of objects, based only on audio descriptions of the museum’s pieces.

The collective Das Leben am Haverkamp, formed in 2014, is composed of four designers: Anouk van Klaveren (1991), Christa van der Meer (1988), Dewi Bekker (1990) and Gino Anthonisse (1988). After their studies at the Royal Academy of Art in The Hague, the designers all set up an individual practice, operating on the cutting edge of different art disciplines, and creating together the necessary context for their unpolished fantasies and unconventional approach to fashion. This resulted in high-profile projects such as Gefelicifashion, Quirky Cruise and Bravado – A pretentious, swaggering display or courage. For the latter, the collective received a Dutch Design award in the Fashion category in October 2017, in addition to being nominated in the Young Designer category.

Projects from the collective members have been shown during Salone del Mobile in Milan, London Fashion Showcase, Centraal Museum Utrecht, Gemeentemuseum Den Haag, Boom City in Chengdu in China, Dutch Design Week and as opening show of the Amsterdam FashionWeek.

Doors open at 19:00.

In May, three events will coincidentally explore how publishing artists turn to fiction. Page Not Found has chosen Rijksakademie alumni Becket MWN as the first guest curator, for his text-based practice which intersects installation and speculative fiction, and his publishing activity under the nom de plume Becket Flannery. He proposed collaborating with visual artist Alison Yip on new work. Their project departs from a shared interest in feigned sequestration; doors that slam; windows that open; what “was” breakfast.

Becket MWN received his MFA from the USC Roski School of Art in 2014, and in 2016-2017 was a resident artist at the Rijksakademie van Beeldende Kunsten. Recent exhibitions include “Paranoid House” at the Vleeshal (Middelburg, NL) and “n ‹o› ‹o› n” at One Gee in Fog (Geneva, CH). He has recently performed at How To Show Up? (Amsterdam, NL) and Kantine (Brussels, BE), among others. He writes under the name Becket Flannery, contributing to publications such as Metropolis M and Initiales. His first book The Chance Event, wherein… is forthcoming from Athénée Press.

Alison Yip lives and works in Amsterdam and Brussels. She received her MFA from the Hochschule für Bildende Künste, Hamburg (Jutta Koether), and was a guest student at Kunstakademie Düsseldorf (Peter Doig, Lucy McKenzie). She received her BFA from the Alberta College of Art and Design. Recent solo and group exhibitions include Chez Malik’s (Hamburg, DE), MOM (Hamburg, DE), Kunsthuis Syb (Beetsterzwaag, NL), Gärtnergasse (Vienna, AT), Vancouver Art Gallery (Vancouver, CA), and Fantaspazio (Milan, IT).

Doors open at 18:00.

In May, three events will coincidentally explore how publishing artists turn to fiction. For “The Drowned Giant”, her previous project, Anna Moreno documented the reenactment of a landmark happening by producing a vinyl record, which included a booklet with texts intertwining facts and fictions. At the occasion of her forthcoming event, she will elaborate on the gesture of softening the requirements of artistic documentation with fictional devices, as instanced by her next project, involving fotonovelas.

Anna Moreno (Barcelona, 1984) lives and works in Barcelona and The Hague. She has been teaching Artistic Research at the Royal Academy of Art (The Hague) and other institutions and is a co-founder of the artists’ initiative Helicopter (The Hague). Her art practice develops through expanded events and solo exhibitions such as Billennium, Catalonia’s Architectures Association (COAC), Barcelona, 2018; D’ahir d’abans d’ahir de l’altre abans d’ahir i més d’abans encara, Fundació Blueproject, Barcelona, 2016; The Whole World Was Singing, HIAP Project Space, Helsinki, 2016 and An Awkward Game, 1646, The Hague, 2015. She has shown her work in the group shows We Are As Gods and Might as Well Get Good at It, Nieuwe Vide, Haarlem, 2018; Beehave, Joan Miró Foundation, Barcelona, 2018; En los cantos nos diluímos, Sala de Arte Joven, Madrid, 2017; Distopía General, Reales Atarazanas, Valencia, 2017: CAPITALOCEAN, W139, Amsterdam, 2016; Lo que ha de venir ya ha llegado, CAAC in Sevilla, MUSAC, at León and Koldo Mitxelena in Donostia, 2015, and Generaciones, La Casa Encendida, Madrid, 2014, among others. Anna Moreno’s work has been featured at symposia such as Visual Activism, SFMOMA, San Francisco, 2014, and United We Organize, Stroom Den Haag, The Hague, 2013. The artist has participated in residencies at Artistas en residencia, CA2M and La Casa Encendida, Móstoles and Madrid, 2017; Seoul Art Space Geumcheon, Seoul, 2012, and Atelierhaus Salzamt, Linz, 2011; and has recently been the recipient of the Botín Visual Arts Grant, Santander, 2018 and of an upcoming fellowship at the Van Eyck Institute, Maastricht, 2019.

Doors open at 18:00.

We’re happy to host taiwanese art collective Walking Grass Agriculture. Founders Hsing yu LIU and Han sheng CHEN invite you to reflect on Dutch colonialism in Taiwan, via a one-day exhibition, an artist talk and a print workshop in our space.

Fruit farming was an important pillar of Taiwan’s economical development. The proceeds of exporting from the so-called “Land of Banana” or “Land of Pineapple” sustained local industries. Yet many kinds of “Taiwanese fruit” are exotic species rather than indigenous species. From 1624 until 1662, the Dutch authority (VOC) occupied Taiwan and started the earliest archiving of Taiwanese plants. According to “De Dagregisters Van Het Kasteel Zeelandia, Taiwan, 1629-1662,” the fruits imported during the Dutch colonial period to Taiwan included wax apple, mango, guava, sweetsop and tomato. The concept of Vanitas, from Dutch art of the 16th and 17th centuries, will be discussed during the talk. The printmaking workshop will invite participants to create “Taiwanese Vanitas”, thereby cannibalizing the Vanitas and questioning the notion of exotism.

About Walking Grass Agriculture: “Flourish a state through agriculture, intervene art through agriculture” is the method and objective of walking grass studio. Our members have a family background in agriculture and a profound passion for art. We use the term agriculture not just for its technical implications, instead we explore the possibilities of art via the values we have inherited from our families. Agriculture is a balance between nature and culture, not unlike art, it responses to seasons; the heavens and the earth underneath it; time and space; the rhythm of life. All of these are phenomenons art can act upon. Our studio operates in the following ways: 1. curation — From planting to sowing, produces go through a cumbersome and laborious process. Curating an exhibition requires the same effort, our studio orients to planning and executing exhibitions to establish a unique style. 2. creation — Contemporary artist cannot isolate themselves from environmental issues, food safety crisis, and labor rights. Aside from producing images and installations we will mobilize research based projects, through field investigations and interviews we strive to uncover extensive document archives. 3. promotion — In art school we’ve discovered a network of young artists with backgrounds in agriculture, we wish to connect them and others interested in our agenda, to turn projects into movements. Through this we may bring art out of the white box and into warm sunlight and land, affecting not just “viewers”, but everyone involved, turning it into a way of life.

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Starts at 13:00.

Page Not Found celebrates the year ending with a very special evening. From artist Daisy Madden-Wells: “’Of all the art forms, poetry is the most economical. It is the one which is the most secret, which requires the least physical labor, the least material, and the one which can be done between shifts, in the hospital pantry, on the subway, and on scraps of surplus paper.’ (Audre Lorde) Marie Antoinette, fatally misinformed, truly believed that cake was not a luxury. Just, that the peasants preferred bread, and its lack there-of was causing the revolts — picture her confusion at their reluctance to manger the abundant brioche she imagined! (allegedly) In the utterly incongruous comparison of these instances, let us enjoy the entirely appropriate marriage of their subjects. Let us be poets and let us eat cake! Proposing a totally non-hierarchical poetry reading night — from a haiku you dreamt in the shower, to your favourite song lyrics, to Homer, Angelou or Cooper-Clarke, to the love letter you never sent — it is all welcomed, all desired. Additionally, no discrimination or snobbery will be exhibited whether you bring home-baked goods or an Albert Heijny special.”

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Starts at 20:00.

We are very happy to invite you to a talk by artist Femmy Otten. Her practice often refers to the verse of Emily Dickinson, and its peculiar alliance of breathless immediacy and burdening solitude. She will guide us that evening through the poetic dimensions of her sculptural and performative works.

Femmy Otten studied at HISK in Gent and was a resident artist at the Rijksakademie in Amsterdam and Atelier Holsboer in Paris. In 2012 Otten was awarded de Volkskrant Beeldende Kunstprijs. In 2014 she was selected for the official portrait of King Willem-Alexander. Recently her work was on view in the following exhibitions: Wistfull Eye, Drents Museum, ‘The restless gods’, performance at Predikherenkerk and Museum M, Leuven, ‘Days Undressed’, Galerie Fons Welters, Amsterdam; ‘De Volkskrant Beeldende Kunstprijs’, Stedelijk Museum Schiedam, ‘Yellow Minutes, Where time has lost its relevance’ in P///akt, Amsterdam; Koninklijke Schilderprijs, Paleis op de Dam, Amsterdam; Museum Tot Zover, Amsterdam; ‘Return on Invest’, Stroom Den Haag; ‘Hydrarchy: Power and Resistance at Sea’, Gasworks London. In 2016, her monograph Slow Down Love was published by Nai 010 publishers. She is represented by Fons Welters in Amsterdam.

Please note that the talk will be held in Dutch.

We thank Julia Mullié for suggesting this event.

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Starts at 20:00.

Colorama is a Berlin-based risographic studio and art book publishing house. Under the framework of The Other Book Festival Page Not Found was delighted to welcome Johanna Maierski – founder of Colorama to present her practice and publishing work as well as install a temporary exhibition highlighting Colorama’s rich output.

Maierski’s artist talk focused on Colorama’s aims to share its craftsmanship with a broader audience and to make the process of designing, illustrating, conceptualizing, printing, binding, publishing and distributing as accessible as possible.

December 4-6, 2019

Visual artist Guus van der Velden recently undertook the Kippenberger Challenge — an open invitation to equal Martin Kippenberger’s average printed output of 7,45 books per year. Van der Velden will present the body of work he produced for this challenge and discuss Kippenberger’s mantra of Heute denken, morgen fertig.

The same evening, visual artist Alex Farrar will launch his new publication, “Wimper”, with texts by Nicola Oxley and Nicolas de Oliveira, and David Price, interspersed with 81 new eyelash prints made on a risograph.

Guus van der Velden (1989) lives and works in Eindhoven. He received a BA and MA Sculpture from KASK (Ghent). Selected exhibitions include “checkraisefold” (SECONDroom, Antwerp), “Php #4” (The Pink House, Antwerp), “Prospects & Concepts” (Van Nellefrabriek, Rotterdam), “L’invention du Quotidien” (Wallspace, Eindhoven), “Part Tarp” (Part Parts, Nevele, BE).

Alex Farrar (UK, 1986) received BFA’s from the Gerrit Rietveld Academie in Amsterdam and Leeds Metropolitan University, after which he completed a two-year residency at the Rijksakademie van beeldende kunsten in Amsterdam. Recent solo exhibitions include ‘Secondary Emotions (i)’, de Appel arts centre, Amsterdam, ‘Secondary Emotions (ii)’ at Dürst Britt & Mayhew, ‘Code Duello’, Loods 6, Amsterdam, and ‘Self-Titled’ at Annet Gelink Gallery, Amsterdam. Recent group exhibitions include ‘Prospects and Concepts’, Art Rotterdam, ‘Summer Fete’, Ceri Hand Gallery, London, ‘Mostyn Open 18’, Oriel Mostyn Gallery, Llandudno, ‘Young British Art II’, DIENSTGEBÄUDE, Zurich. Both in 2014 and 2015 he won The Best Dutch Book Designs for two of his publications.

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Starts at 20:00.

Poetry is the birthplace of the modern artist’s book. With its upcoming program, Page Not Found pays tribute to the interplay between visual arts, poetry and publishing by inviting poets and artists to share their work alike. Artist and poet Anna Arov will host a cross-genre performance evening, inquiring how space, code, science fiction, and poetry shape artistic research and practice. She chose artists who have engaged with these topics: Martijn van Boven will talk about using NASA as his artistic co-creator, Margarita Osipian will perform live video inspired by the resonance between poetry and physics. She will read from her chapbook The Last Question, which is a libretto about space travel.

Anna Arov is a Russian/Canadian poet and artist living in Amsterdam. She teaches writing at the Royal Academy of Art in The Hague. Anna is an editor with Amsterdam based literary and art journal Versal and co-curates the cross genre performance series, VERSO at Mezrab in Amsterdam. Her poems have appeared in various literary journals and collections, including Beecher’s Magazine and SpringGun. Anna is the author of The Last Question (Dancing Girl Press, Chicago 2018).

Martijn van Boven (1977) is a visual artist from Amsterdam, with a focus on experimental films and computer generated art. His work is expressed through installations, films, collaborations with composers, and cinema performances. Van Boven has been the head of Interaction Design at the ArteZ Institute since 2012 and teaches Media Archeology.Van Boven received his credentials at the Image and Sound department of the Royal Art Academy in The Hague. He has been focused on abstract filmmaking since 2000, co-founded the Hague’s TAG Media Center in 2003, and in 2005 joined the curatorial team of Sonic Acts, the Netherlands-based festival operating at the intersection of art, music and science. He currently lives and works in Amsterdam.

Margarita Osipian is a Belarusian born, Canadian raised researcher, curator, and cultural organiser living and working in the Netherlands. Margarita works at the intersections of art, design, and technology; organizing collaborative projects both in formal institutions and in more precarious and fleeting spaces. Holding an MA in Media Studies from the University of Amsterdam and an MA in English Literature from the University of Toronto, her research has focused on visual culture, technology, and the carceral state. Margarita is part of The Hmm, a platform for digital culture; a member of the Hackers & Designers collective; and is the art editor for Versal, an art and literature journal based out of Amsterdam. She has done programming and curated exhibitions for the Salwa Foundation, TodaysArt, Bits of Freedom, Hackers & Designer, the W139, and Mediamatic, amongst others.

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Starts at 20:00.

Poetry is the birthplace of the modern artist’s book. With its upcoming program, Page Not Found pays tribute to the interplay between visual arts, poetry and publishing by inviting poets and artists to share their work alike. As pendant to the deliberate poetic act, Page Not Found invited Katja Mater to present her on-going project regarding dyslexia. The work she developed for this project, a double film projection echoing her recent exhibition at P/////AKT (Amsterdam), will be shown for the first time. Katja will also discuss with her guest, designer Salome Schmuki, whose publication “Dyslexia – Chunking Along A Straight Line – At The Crossing Turn Left” investigates this disorder as a graphic design problem.

Katja Mater graduated from the Gerrit Rietveld Academie and was resident at De Atelier (2003-2005). Recent exhibitions include “Dear Sides” (P//////AKT, Amsterdam, NL), “Hmmmmm” (Martin van Zomeren, Amsterdam NL), AMATEUR (Helper, New York, USA), 47th International Film Festival Rotterdam, “Bye Bye de Stijl” (Centraal Museum, Utrecht NL), “Tiled, some times in my office” (ltd los angeles, Los Angeles USA). “Multiple Densities”, her monograph, is published by ROMA Publications. In November 2018, Mater received the NN Group Art Award, an incentive prize for exceptional talent. She is part of the editorial team of Girls Like Us magazine.

Salome Schmuki studied graphic design at the Gerrit Rietveld Academie, where she began collecting research material about dyslexia and readability. Interested in different strains of dyslexia and how it occurs in various languages and writing systems, she approaches the topic from the perspective of a designer and a reader. Her publication “Dyslexia – Chunking Along A Straight Line – At The Crossing Turn Left” gathers the results of her inquiry, a project based on her typographic practice combined with scientific research. Seeking a dialogue with readers of different types, she investigates many aspects of the printed word, revealing its complex, challenging and arbitrary nature.

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Starts at 18:00.