With joy we welcome you to the launch of Annemarie Wadlow’s new book “Women Looking at Women Looking at Women: Reclaiming Histories of Women in the Arts and Proposing Models to Facilitate Future Friendships”, on Saturday 9 July.

In 2020 Wadlow won the first Page Not Found Thesis Award, celebrating the thesis which integrates most strongly its own dissemination. Together we proudly present “Women Looking at Women Looking at Women”, now published by Page Not Found.

In what ways have women artists come together to investigate their own image? This publication delves into histories of feminist and queer collective practice, expanding on the various ways women claim agency of their identity, via collaborations that connect intergenerational and far-away friendships. Each chapter features artistic and theoretical case studies that discuss images produced by women artists, about women artists; proposing that to gaze upon someone represented with care and autonomy provides more affirmative ways to relate to ourselves. It discovers that to pay homage to overlooked knowledge of women artists builds a case for the artist as researcher. Only by engaging in both roles can we unveil what is not taught in the mainstream and inspire a more inclusive, generous future.

Each aspect of the book’s design is a collaborative endeavour, expanding the notion of individual authorship. It is with this sentiment that creating the publication became research in itself, via collaboration with both direct peers and an extended genealogy.

“Women Looking at Women Looking at Women” is designed by Marijn van der Leeuw, Esther Vane, India Scrimgeour, Hannah Williams and Annemarie Wadlow.

Annemarie Wadlow (1993, UK) is a research-led artist working between moving image, writing and photography. Her work explores the middle ground between image and imagination, questioning notions of inheritance, personal identity and belonging. She is the co-founder of Nice Flaps, an artist initiative that hosts experimental life drawing sessions.

Starts at 17:00.

Mirthe Berentsen and Virginija Januškevičiūtė come together in conversation with Marianna Maruyama for an energetic exchange around writing, termitic modes of being, mothering multitudes, and life-cycles. If writing serves both as a process of emptying and accumulating, termites can be reliable guides in this contradictory, self-defeating, seemingly circular pursuit. 

The conversation between Virginija Januškevičiūtė and Marianna Maruyama picks up one year after their public discussion at the Royal Netherlands Institute Rome, and is now graciously joined by Mirthe Berentsen who shares the following recollection: 

“in Maharashtra, in western India, i was waiting for the delivery of a table. it had belonged to a colleague and the antique wood would suit my bedroom. shortly after its arrival, i noticed small pieces of the table on the floor every morning, dutifully i cleared it away and forgot about it. until i wandered off to find peace at night & i remembered the pieces of the table. i thought i heard the termites, feasting on my house. and in that dim zone of surrender and alertness, i felt the termites gnawing at my feet. slowly taking possession of all my corridors. until i’m merely hollow forms of inheritance and memory. i weathered from a body into a building, becoming brown mountains of masses, of self-regulating processes, becoming energy and us. buried in a living grave i am greater than i could ever have been on my own.“

This event takes place in the context of Marianna Maruyama’s solo exhibition “Six Blue Things” at Page Not Found.

Marianna Maruyama describes her multi-modal practice as translational, transformative, personal, and indebted. Since 2016, she has worked in close collaboration with the Sedje Hémon Foundation. Her work has been performed and exhibited in the CAC Vilnius (LT), Stedelijk Museum Amsterdam (NL), documenta14 Parliament of Bodies, Kassel (DE), The Jewish Historical Museum, Amsterdam (NL), Manifesta 11, Zurich (CH), The Centraal Museum, Utrecht (NL), and IMPAKT festival, Utrecht (NL), Lateral Roma (IT). Publications include: Performing Security (The Fifth Season, 2019); Translation as Method (Kunstlicht, 2017); Translation in The Dark (Casco/DAi, 2014); Three Movements (Casco/DAI, 2013); Farocki’s Living Room (Harun Farocki Institut, 2018). Her writing has been published in DEARS, Nero Editions, and Archive Books (forthcoming). 

Mirthe Berentsen (NL,1984) studied Literature at the University of Amsterdam and Comparative Literature and Linguistics at the Freie Universität in Berlin. Berentsen writes reviews and essays for various newspapers and magazines on art, culture and political-social developments (including for the Dutch NRC Handelsblad, Vrij Nederland, De Groene Amsterdammer, De Volkskrant, the German newspaper Die Welt and international art magazines like Art Asia Pacific, Modern Painters, Art Basel Magazine, E-FLUX and Sleek). Since 2015 Berentsen has been working as an advisor on cultural policy for the Ministry of Culture in The Hague, focusing on internationalization and inclusivity.

Virginija Januškevičiūtė is a curator and advisor at the Contemporary Art Centre (CAC) in Vilnius. She has recently curated solo exhibitions by Rosalind Nashashibi (currently in view), Arthur Jafa, Yugi Agematsu, Eglė Budvytytė and Brud; as well as group exhibitions Splitting the Atom (with Ele Carpenter), History of Joy, Part 4 (with Kaspars Groševs and Siim Preiman, on view online) and Head with Many Thoughts (with the rest of the CAC’s curatorial team). Virginija also writes, interviews, edits and publishes: see www.blunt.cc for a recent collection of artist books in PDF format or follow this link for a series of video interviews with Lithianian visual artists.

Starts at 17:00.

This is a free event.

Page Not Found is thrilled to present a new commission by artist Emma Wiersma, published in our front window at Boekhorststraat 128.

In her project “I’m selling all of my belongings/ All solids are moving and I help them a little, moving as atoms do” the artist puts all her material belongings up for sale (489 pc.). Every item that is sold, is replaced with a new, similar solid, within the same price range and in the same state of use. For example a worn coat will be replaced by a worn coat, an opened tube of toothpaste by another opened tube of toothpaste, a passport photo by a passport photo of somebody else, a children’s drawing by a children’s drawing made by another child, etc. Each new belonging will be put up for sale subsequently. 

The project will be exhibited at the upcoming Graduation Show at the Gerrit Rietveld Academy. The commission at Page Not Found will be on view correspondingly from 6 to 10 July.

On July 6 at 18:00 we will celebrate the unveiling of the commission with a toast in front of our window. Emma Wiersma will showcase a special selection of publications from her project for the occasion.

Emma Wiersma (1998) graduates from the Image & Language department at the Gerrit Rietveld Academy this summer. She has written for De Revisor, Mister Motley and Tubelight and enjoys shifting movements.

In the context of Marianna Maruyama’s exhibition “Six Blue Things” at Page Not Found, the artist invites Greta Desirèe Facchinato to introduce her colorful practice of natural ink-making.

What is ink? One of the potential answers is: the advancement of visual communication. The history of writing mediums is considered, in some ways, the history of civilization itself. From ancient times, the ancestral civilizations used ink to decorate their bodies, ornaments, and walls. It wasn’t until around 2500 BCE that ink began to be used for writing in Egypt and China, coinciding with the development of the first paper, papyrus. The inks were often made using a mixture of blood, ocher, plant material, gums, resins, oils, waxes and vinegars.

During this workshop Greta Desirèe Facchinato will guide you how to extract color from plants, kitchen waste and urban relics, in order to make ink suitable for drawing, printing, and painting.

Her intention is to guide each participant in shifting awareness to recognize which ingredients we can forage in our landscape, create a connection with the surrounding and re-learn our relationship with colors. Together we will forage the ingredients needed in the surroundings of Page Not Found.

Greta Desirèe Facchinato is an Italian/Luxembourgish artist and designer based in Den Haag. The point of departure in her work is always the body, specifically its constant relationship between interiority and exteriority, as an appendix for the physical senses. The scope of her work is to invite the other into a self-reflective condition.
With a background in dance and sculpture, she graduated with her MA in Artistic Research in 2018. In recent years she is been interested in shifting towards a more holistic and sustainable practice, by paying attention to the choice of materials/production methods and looking at inanimate substances such as ink as living matter. The world of natural color is endless and attached to antique traditions and knowledge which have been substituted by the advance of synthetic colors. Her approach aims to invite us to look into colors as a series of living bodies, not meant to be here forever.

The workshop has space for a limited number of participants. Please send an e-mail to register@page-not-found.nl with subject ‘Ink-making’ and your name to RSVP. UPDATE: Workshop is now full!

No experience is necessary to participate. Materials are provided but it is recommended to bring your favorite sketchbook or notebook. Participants may bring an apron to keep their clothes clean, or wear clothing that can get dirty.

The workshop starts at 15:00 and runs till 18:00, with a break in between.

From 15 June to 17 July our 2022 artist-in-residence Marianna Maruyama presents work developed during her research and production period in collaboration with Page Not Found. Slow processes of decay, ageing and transformation find their way into the project space. 

Over the past two years Maruyama has been moving – physically and imaginatively – between The Hague and Rome in search of what she calls  ‘termitic space’. Termites offer limitless ways of thinking about more-than-human intelligence by provoking questions about social life and the concept of the individual, blurring boundaries between the animate and inanimate, and mixing temporalities. Thinking alongside the works of Anna Tsing, Rosi Braidotti, Caitlin DeSilvey, Lisa Margonelli, and others, Maruyama is interested in how cultural heritage might be understood from the perspective of the insects that live off of it — and in it — in addition to the ones who produce it or conserve it. For Maruyama, termites offer different ways of thinking about loss, and prompt a deeper understanding of the life and death cycle of a publication.

The exhibition will be accompanied by a program of public events, opening up conversations from different perspectives around Maruyama’s research and artworks. On Friday 24 June artist Greta Desirée Facchinato presents a natural ink-making workshop, and on Saturday 16 July Maruyama will engage in a panel discussion with Virginija Januškevičiūtė, curator of CAC Vilnius and writer, artist, and cultural policy advisor Mirthe Berentsen.

Marianna Maruyama describes her multi-modal practice as translational, transformative, personal, and indebted. Since 2016, she has worked in close collaboration with the Sedje Hémon Foundation. Her work has been performed and exhibited in the CAC Vilnius (LT), Stedelijk Museum Amsterdam (NL), documenta14 Parliament of Bodies, Kassel (DE), The Jewish Historical Museum, Amsterdam (NL), Manifesta 11, Zurich (CH), The Centraal Museum, Utrecht (NL), and IMPAKT festival, Utrecht (NL), Lateral Roma (IT). Publications include: Performing Security (The Fifth Season, 2019); Translation as Method (Kunstlicht, 2017); Translation in The Dark (Casco/DAi, 2014); Three Movements (Casco/DAI, 2013); Farocki’s Living Room (Harun Farocki Institut, 2018). Her writing has been published in DEARS, Nero Editions, and Archive Books (forthcoming). 

The development of this exhibition is supported by the Makersregeling from de gemeente Den Haag.

The exhibition is open to the public during our regular opening hours from Wednesday through Sunday, 13:00-18:00. Entrance is free. 

On Friday 1 July the project space and exhibition will be closed for Keti Koti.