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Page Not Found presents “Cultural Remittance Pawnshoppe”, a new cycle of events curated by Clara Balaguer and Meenakshi Thirukode (Instituting Otherwise). For the first iteration of the cycle we welcome artists Alfred Marasigan and Meenakshi Thirukode.

(^_-)≡☆ SYNOPSIS (^_-)≡☆

Meenakshi Thirukode presents her work through the archetype of The Wound inflicted in the act of seeking change and justice. Hierarchical structures of race, gender, caste,* and class seek to protect themselves, picking at any attempts of this wound to heal over.

Alfred Marasigan presents his work through the archetype of The Shell, specifically the nautilus shell. His interest in how time is lived, quantified, politicized in different territories suggests, through the shell, other readings of queerness, danger, anachronism, and the body.

For this episode, Cultural Remittance Pawnshoppe nests within the skin of Eternal Conferences, a livestreamed educational resource and art space.

*Meenakshi would like to acknowledge that she belongs to an oppressor caste as a UC/Savarna and will speak from this position.

(つ≧▽≦)つ ABOUT THE PAWNSHOPPE (つ≧▽≦)つ

To Be Determined (Primary Cell: Meenakshi Thirukode and Clara Balaguer) build a series of long distance remittance sessions at Page Not Found, featuring people who are intimate with migratory realities as a lifestyle that begets archetypes for a practice. Whether by fleeing further South, draining towards the North, or exiting contested “centers” and “canons,” their work explores what exists on the margins, not because it lacks value but because it has been grossly misclassified—by empire, patriarchy, casteism, or any other intersectional oppressions—as unremarkable.

In the spirit of informal remittance, both Balaguer and Thirukode have proposed a series of conversational alchemies, mixing guests across their personal networks in India and the Philippines. They ask each guest to present their work in light of an archetype they are practicing, researching, or becoming that is somehow made possible by the modes of flight described by migration. A casual publication will be gathered from notes and references shared for each session.

(^_<)～☆ GRATITUDE (^_<)～☆

Cultural Remittance Pawnshoppe is made possible by a generous institutional consortium between Page Not Found, the Collecting Otherwise research group at Het Nieuwe Instituut and PrintRoom.

┬┴┬┴┤·ω·)ﾉ BIO’S ┬┴┬┴┤·ω·)ﾉ

Alfred Marasigan (Batangas, Libra Water Monkey) is an artist and educator who conducts serendipitous research and transmedial practices primarily through livestreaming, heavily inspired by emotional geography, Norwegian slow TV, and magic realism. Such format, often via social media, anchors his current explorations on simultaneity, sustainability, solidarity, and sexuality. He has been a faculty member of Ateneo de Manila University’s Department of Fine Arts since 2013.

Meenakshi Thirukode is a writer, researcher, educator and feminist killjoy based in NewDelhi, India. Her areas of research include the role of culture, collectivity and micro-politics from the POV of a queer femme subjectivity, located within the realm of a trans-nomadic, transient network of individuals and institutions. She runs ‘School of IO’, which is a space of unlearning, dedicated to navigating ‘study’, as a radical tool of political agency. 

Jerwin Darag is a corporate researcher analyst. He has worked in the local government unit of Makati under Disaster Risk Reduction and Management Office, Administrative Section. He holds a Bachelor’s degree in Office Administration from the Polytechnic University of the Philippines and has studied sign language in the Philippine Registry of Interpreters for the Deaf. 

Clara Balaguer is a cultural worker and grey literature circulator. Frequently, she operates under collective or individual aliases that disclose her stewardship in any given project, the latest of which is To Be Determined.

Eternal Conferences is a live educational resource and art space that aims to bring together people from different fields and practices to talk about intersections between (real) time, digital anthropology, and various forms of communal and decolonized knowledge production. It is Inspired by never ending zoom calls and conversations as journeys.

To Be Determined is a loosely organized structure for leaking access to cultural capital, recently migrated to Rotterdam from Parañaque City. TBD is a network of sleeper cells curious about models of non-extractive research, diasporic remittance flows, rehabilitating the body public/published body, mutual industry, and secretarial agency. 

ε=ε=┌(;￣▽￣)┘PRACTICAL ε=ε=┌(;￣▽￣)┘

Jerwin Darag will provide sign language interpretation.

This is a hybrid event. You can attend in person at Page Not Found or stream online via the Eternal Conferences website. To enter the chatroom you can sign up and join on Twitch.

Starts at 18:00 The Hague time, 00:00 Manila time (+1), 21:30 Delhi time.

Entrance is free.

We once again welcome the MA Artistic Research, Royal Academy of Arts, The Hague, for the launch of their 2022 publications. This year we will celebrate:

“Loving Critique”, a compendium of images and short texts created during the first year reading days. “Loving Critique” is the latest publication of the department’s Keywords series, an annual publication written, edited and designed by students of the MA Artistic Research of The Royal Academy, The Hague. This year’s edition was supported by the design team Rietlanden Women’s Office.

“I Can Smell Your House on Your Hat”, the graduation publication of 2022, supported by MA Artistic Research tutor Babak Affrassiabi and the design team of Studio Budino.

During the evening, students and recent graduates of the programme will read short highlights from these and other writing projects.

The two-year master’s programme in Artistic Research educates artists who want to ask questions about the world through the practice of art. The programme supports a curious and experimental approach to making and places value in unconventional approaches to aesthetic knowledge production.

Starts at 19:00.

This is a free event.

We are thrilled to invite you to the first chapter in the cycle curated by Kandis Williams of Cassandra Press at Page Not Found!

In this first gathering we will connect with Collective X, who published the poetry zine “Blackity Black Black Black” on the occasion of Cassandra Press’ LUMA Westbau exhibition in 2021. Kandis Williams will engage in conversation with Collective X members Meloe Gennai, Titilayo Adebayo and Deborah Macauley. 

Collective X is a collective of Black Trans and Queer people with multiple faces. They are artists and creators of spaces and narratives. Art allows them to form a community and survive, sharing through exhibitions, readings, workshops, meetings and performances in respect of their identities, their limits and in community love. The Collective X speaks French, German, Italian, Creole, English… because it was formed by Afro-Swiss and Afro-French people, it aims to speak as many languages as trajectories, and to promote artistic exchanges in the Black and Queer diaspora of the universe.

Deborah Macauley aka E-F-U-A Born On Friday aka Debster is a young Afro-Austrian hybrid artist, performer, dj, poet, curatorial/production assistant/manager in the field of film, cultural art, theatre. She is also a theatre pedagogue in training. She lives in Zurich/Vorarlberg and has worked mainly in the Europe. Born to a Sierra Leonean mother and Ghanian father, in Gambia, Deborah also refers to herself as “Westafrican Titi” (Titi = Krioword for girl*/woman*). She sees herself as a community networker. As a member of Blash (Black Femme People in Switzerland), the program team of the association Zentralwäscherei (an event center in Zurich Switzerland), the collective listenandspeak.at and other low-threshold groups like netzwerk.bipoc.woc, queer and poppin’, etc. Her focus is to make Black, Indigenous and People of Colour more visible in daily life and to create connection points between different people. As a performer Deborah has recently been on screens of Locarno Filmfestival with the short film „Heart Fruit“ from Kim Allamand and the Venice Biennale 2022 with „When The Body Says Yes“ from Melanie Bonajo and at Lafayette Anticipations exhibition of „The Show Is Over“ in 2021 from Wu Tsang.

Titilayo Adebayo is a non-binary movement researcher and creative of Nigerian decent. Born 1994 in the UK (which explains the ambiguous British accent), they trained in London at the University Roehampton, followed by tours and various creative projects – starting with Trajal Harrell, but also shows with, but not limited to, Paul Maheke and touring with Ligia Lewis. Titilayo is constantly in flux with emergence. Emerging from where? Emerging towards what? Who knows? (Does it matter?) They aim to bring a holistic approach to creating and experiencing performance. Their practice lies in these principles.

Meloe Gennai is a poet. They are currently conducting a post- graduate artistic research on (their) illegibility, disabled poetry and aesthetics of survival. Meloe grew up among Black women who were activists, artists, writers and scholars; and to which they owe their early political consciousness. They graduated in Law, Literature and History and worked as a teacher and policy officer; until trans disabled experience realness let them to develop an art practice which explores embodied narratives through poems, moving images and performance.

The poetry zine “Blackity Black Black Black” will be available for sale at a price of €15 with 100% of the proceeds going to the collective.

For those who cannot join us IRL there is a livestream available.

Starts at 14:00.

This is a free event.

We are happy to share “Masc Green” by Danit Ariel, the second chapter in our new series of Open Letters!

The Open Letters project invites The Hague artists to occupy our large storefront window with messages of urgency and vulnerability.

“Masc Green” is a celebration of expansive masculinity. Danit Ariel wrote this text the day after Sarah Everard was killed, when for a brief moment, there was collective engagement in conversations around toxic masculinity. The dominant narrative at the time seemed to be that cis men had no one to look towards for examples of healthy masculinity. And so “Masc Green” was born as a call to look around. To look properly and beyond the binary. Look to trans mascs and queers, butches and dykes. To choose them as your role models for masculinity.

Danit Ariel is a Queer Jewish visual artist and writer attempting to construct an empathic gaze. Ariel’s research asks how we share and hold each other’s stories, as well as how art can create new ways of ‘meeting’; with an emphasis on platforming marginalised narratives.

“Masc Green” is on view in our front window for the duration of a month, and is freely accessible from the street at any time. 

In a special installation at Page Not Found, Kandis Williams proposes a reading lounge made of found interior objects, to dissent from the pristine white cube environment as a structure which facilitates and rigidifies the dissemination of knowledge.

Cassandra Press Readers are presented alongside “Blackity Black Black Black”, a zine published in collaboration with Collective X, and “The Absolute Right to Exclude”, a textual processing of Cheryl Harris’ “Whiteness as Property”. Recordings of public discussions held by Kandis Williams and Cassandra Press are available for viewing. Taken together, the works in this installation highlight the central process of assemblage that can be found across Cassandra’s offerings, which build through an array of textual and cultural materials. Furthermore, the steadily growing library gives space to publications by artists and writers such as Denise Ferreira da Silva, C.L.R. James, Yara Rodrigues Fowler, and Bracha L. Ettinger. 

Founded in 2016 as an extension of the multidisciplinary practice of Kandis Williams, Cassandra Press is a collaborative publishing platform that highlights and disseminates texts on issues of race, feminism, power, and aesthetics. Cassandra Press has since grown to become a multifaceted educational resource, hosting virtual workshops, organizing artist residencies, commissioning texts, and building public exhibitions alongside its publishing program.

Williams began Cassandra Press after being alarmed by the rise of right-wing authoritarianism while deeply inspired by a new audience coalescing around the Black Lives Matter movement. During the past seven years, Cassandra Press has published forty-four Readers. Organized around a central impulse, they are photocopied, roughly bound anthologies that present theory, history, sociology, and criticism by a panoply of intellectuals, activists, and editorial sources. Williams makes these resources available for free to Black students and instructors through online programming and local engagements. In 2020, Cassandra Press expanded collaborative aspects of its work into the Cassandra Classrooms project, a series of immersive courses led by artists, intellectuals, and educators who share their vital knowledge and invite participants into generative investigation.

The reading lounge is freely accessible during our opening hours Wednesday through Sunday, 13:00-18:00, until 13 November.

Cassandra Press and Collective X have collectively gathered a list of resources to compliment the reading lounge and event cycle at Page Not Found. The resource list spans online and offline platforms and publications within the English, French and German domain.

On 25 November we give you a little encore to the cycle: as part of Hoogtij #71 we will present a special screening of documented discussions and artist talks, guided by Kandis Williams.

Page Not Found starts off a new series of Open Letters with Zela Odessa Palmer’s work “there is so much to talk about”, in which the artist addresses the pressures and expectations laid on identity within contemporary art climates, asking “would it be enough to just make art and be myself?”

The Open Letters project invites The Hague artists to occupy our large storefront window with messages of urgency and vulnerability. Open Letters are on view in our front window for the duration of a month, and are freely accessible from the street at any time. 

Open Letters gives artists and writers room to publicly reflect on our current times. The project is inspired by Paul Maheke’s short essay ‘The year I stopped making art. Why the art world should assist artists beyond representation; in solidarity.’, published on the 18th of March 2020. In the essay Maheke channels voices of urgency from precarious figures who practice their art without structural support, ranging from the witch to the single parent to those struggling with mental health issues. “The Year I Stopped Making Art.” was the first Letter published in our storefront and was followed by five Letters by The Hague artists in 2021.

Zela Odessa Palmer (1997) is a visual artist based in The Hague, Netherlands, currently studying at the Royal Academy of Art, The Hague (KABK).

Zela’s open letter is accessible any time from the street and will stay on view until August 30, 2022.

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.