kunst

theo

rie

stadscultuur

spring

/summe

r

2016

www.valiz.nlHet Sieraad, Studio K34-K36Postjesweg 1, 1057 DT Amsterdam

Sarah van Binsbergen, Pia Pol, Astrid Vorstermans

vvaliz

kritiek

01. herman de vries—to be all ways to be E – ISBN 978-90-78088-99-8 € 25,00

02. Daphne Pappers e.a.Common SkinE – ISBN 978-90-78088-67-7€ 19,90

03. Kitty Zijlmans e.a.World Art StudiesE – ISBN 978-90-78088-22-6€ 29,50

04. Sophie BerrebiThe Shape of EvidenceE – ISBN 978-90-78088-98-1€ 25,00

05. Janneke WesselingDe volmaakte beschouwerNL – ISBN 978-90-78088-97-4 € 10,00 – e-book

06. Pascal Gielen e.a.Autonomie als waardeNL – ISBN 978-90-78088-66-0€ 15,00

07. Pascal GielenRepressief liberalismeNL – ISBN 978-90-78088-84-4€ 19,50

7 January 2016Book launch Interrupting the CityWith Sander Bax, Pascal Gielen, Bram Ieven and othersPakhuis de Zwijger, Amsterdam (NL)https://dezwijger.nl

12 January 2016Book launch In-between Dance CulturesWith Guy Cools, performance by Akram KhanFontys School for Fine and Performing Arts, Tilburg (NL)www.fontys.nl

12 January 2016Book launch Moving TogetherWith Rudi Laermans and Roos van BerkelTheaterschool Amsterdam (NL)www.ahk.nl/theaterschool

15 January 2016Book launch In-between Dance CulturesWith Guy Cools and Suzy BlokInternational Theatre & Film Books, Amsterdam (NL)www.theatreandfilmbooks.com

9 789078 088226

ISBN 978-90-78088-22-6

03.Context

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In Common Skin philosopher Liesbeth Levy and Daphne Pappers disclose the work of the artist Myr-iam Mihindou (Gabon/France, 1964) and the power of dialogue. Levy bases her essay on the work of the 20th-century philosopher Emmanuel Levinas concern-ing the confrontation with the other. Daphne Pappers analyses Mihindou’s artistic practice: the objects, photo series and films show a coming to terms with collective pasts, imagined in ritual. The heart of the publication comprises an artists’ part in which Myri-am Mihindou for the first time reveals the relationship between sketches, notes and key works.

In Peau commune onderzoeken filosoof Liesbeth Levy en Daphne Pappers het werk van de kunstenaar Myriam Mihindou (Gabon/Frankrijk, 1964) en de kracht van de dialoog. Levy bouwt haar essay op de filosofie van de twintigste-eeuwse Emmanuel Levinas over de confronta-tie met de ander. Daphne Pappers analyseert Mihindous artistieke praktijk: de objecten, fotoseries en films tonen een verwerking van collectieve verledens, verbeeld in rituelen. Het hart van de uitgave bevat een kunstenaars-cahier waarin Myriam Mihindou voor het eerst relaties toont tussen schetsen, aantekeningen en sleutelwerken.

in ‘Context Without Walls’ intercontinental, ‘non-western’ contemporary art is related to philosophical, anthropological, political and art historical notions. each volume consid-ers one theme, and is organised as a triptych: a case study of an artistic oeuvre, a visual essay by the particular artist and a reflective essay by a co-author which links to other disciplines.

in de serie ‘Context Without Walls’ wordt intercontinentale, ‘niet-westerse’ hedendaagse beeldende kunst in relatie gebracht met filosofische, antropologische, politieke en kunsthistorische noties. elk boek bevat één thema, en wordt uitgewerkt in een drieluik: een casestudie van een artistiek oeuvre, een visueel essay door de betreffende kunstenaar en een beschouwend essay van een coauteur, die crossovers maakt naar andere disciplines.

Common Skin

Valiz

Daphne Pappers Myriam MihindouLiesbeth Levy

Com

mon

Skin

M

ihin

dou

/ Pap

pers / L

evy

9 789078 088677

ISBN 978-90-78088-67-7

02.

9 789078 088998

ISBN 978-90-78088-99-8

01.

The Shape of Evidence

Sop

hie B

errebi T

he S

hap

e of E

vid

ence

Sophie Berrebi is a writer, art historian and curator, born in Paris and living in Amsterdam. She works at the University of Amsterdam, teaching art history and theory, mainly in the areas of photography and contem-porary art.

The series provides a platform to stimulating and relevant subjects in the young visual arts, architecture and design. The authors relate to history and art history, to other authors, to recent topics and to the reader. Most of them are academic researchers. What binds them is a visual way of thinking, an undaunted treatment of the subject matter, and a skilful, creative style of writing.

Valiz, Amsterdam <www.valiz.nl>

v Vv

The Shape of Evidence examines the role and use of visual documents in contemporary art, looking at art works in which the document is valued not only as a source of information but also as a distinctive visual and critical form. It contends that for artists who use film, photography or written sources, adopting formats derived from specific professional, industrial, scientific or of commercial contexts, the document offers a way to develop a critical reflection around issues of representation, knowledge produc-tion, art and its history.

It addresses several issues that are key both in art and in general culture today: the role of the museum and the archive, the role of documents and the trust that is placed in them, the circulation of such images and the historical genealogies that can be drawn in relation to images. Its chapters are based on a close reading of a select number of works by Christopher Williams, Jean-Luc Moulène, Zoe Leonard, Sven Augustijnen, Fiona Tan and Wendelien van Oldenborgh. The book discusses objects and ideas drawn from a wide spectrum of areas including literature, history, scientific representation, surreal-ism, conceptual art and commercial photography.

The Shape of Evidence invites viewers to reflect upon the production and interpretation of seemingly straightforward images, and proposes that some artists can show us through their practice how to turn these deceptively simple images inside out.

ISBN 978-90-78088-98-1Printed and bound in the EU

Valiz

Sophie Berrebi

vi.s-A-vi

.s

i

vi.s-A-vi

.s

i

Contemporary Art and the Document

9 789078 088981

9 789078 088981

ISBN 978-90-78088-98-1

04.

9789078

088660

ISBN 978-90-78088-66-0

06.

NL/BE/LUCoen Sligting, www.coensligtingbookimport.nlCentraal Boekhuis, www.centraal.boekhuis.nl

GB/IEAnagram Books, www.anagrambooks.comAdeline MannariniPhoebe Blatton

Design folder: Lotte Schröder, www.termsofcircumstance.orgTypeface: Karla (Google webfont), Andale Mono, 9 789078 088844

ISBN 978-90-78088-84-4

07.

05.

9 789078 088974

ISBN 978-90-78088-97-4

De volmaakte beschouwer

Janneke Wesseling

De ervaring van het kunstwerk en receptie-esthetica

Valiz

vi.s-A-vi

.s

i

Valiz

vi.s-A-vi

.s

i

7 January 2016Book launch Interrupting the CityWith Sander Bax, Pascal Gielen, Bram Ieven and othersPakhuis de Zwijger, Amsterdam (NL)https://dezwijger.nl

12 January 2016Book launch In-between Dance CulturesWith Guy Cools, performance by Akram KhanFontys School for Fine and Performing Arts, Tilburg (NL)www.fontys.nl

12 January 2016Book launch Moving TogetherWith Rudi Laermans and Roos van BerkelTheaterschool Amsterdam (NL)www.ahk.nl/theaterschool

15 January 2016Book launch In-between Dance CulturesWith Guy Cools and Suzy BlokInternational Theatre & Film Books, Amsterdam (NL)www.theatreandfilmbooks.com

22 January 2016AICA Symposium ‘Het Nieuwe Netwerk’Lecture on Spaces for Criticism by Thijs LijsterStedelijk Museum Amsterdam (NL)www.aicanederland.org www.stedelijk.nl

23 January 2016Opening exhibition Ulay | Polaroid + book launch Ulay: What Is This Thing Called Polaroid?Nederlands Fotomuseum, Rotterdam (NL), www.nederlandsfotomuseum.nl

24 January — 1 May 2016Exhibition Ulay | PolaroidNederlands Fotomuseum, Rotterdam (NL), www.nederlandsfotomuseum.nl

5 February 2016Book launch In-between Dance Cultures With Guy Cools Sadler’s Wells, London (UK)www.sadlerswells.com

12 February 2016Presentation Ulay: What Is This Thing Called Polaroid?Art Rotterdam (NL)www.artrotterdam.nl

12 — 14 February 2016Printed Matter’sLA Art Book FairThe Geffen Contemporary at MOCA, Los Angeles (US)www.laartbookfair.net

4 — 6 March 2016Launch Antwerp Research Institute for the Arts (ARIA)3 days of lectures, discussions and performances,Valiz pop-up bookshopwith Pascal Gielen, Sander Bax, Guy Cools, Nico Dockx, Rudi Laermans Thijs Lijster and many othersStadsfeestzaal, Antwerp (BE)www.uantwerpen.be/nl/onderzoeksgroep/aria/over-ons/missie/

19 March 2016Book launch Spaces for CriticismWith Thijs Lijster, Roos van der Lint and othersWest Den Haag, The Hague (NL)www.westdenhaag.nl

April 2016 Programme on art criticismwith Thijs Lijster, Spaces for CriticismBoekmanstichting, Amsterdam (NL)www.boekman.nl

22 April 2016Presentation In-between Dance CulturesWith Guy CoolsDampfzentrale Bern (CH)www.dampfzentrale.ch

22 — 24 April 2016Libros Mutantes Art Book Fair La Casa Encendida, Madrid (ES)www.librosmutantes.com

20 — 22 MayOffprint Art Book FairTate Modern, Turbine Hall, London (UK)www.offprintprojects.com

June 2016I Never Read Art Book Fair Basel parallel to Art Basel (CH)www.ineverread.com

NL/BE/LUCoen Sligting, www.coensligtingbookimport.nlCentraal Boekhuis, www.centraal.boekhuis.nl

GB/IEAnagram Books, www.anagrambooks.comAdeline MannariniPhoebe Blatton

USA/CA/Latin AmericaD.A.P., www.artbook.com

Europe/Asia/AustraliaIdea Books, www.ideabooks.nl

Representatives or distribution partners Idea Books–Australia and New Zealand: Robyn Ralton, modernjournal@netspace.net.au

–China and Hong Kong: Edwin Chu, www.cps-hk.com–France, Switzerland and Walloon Belgium: Sébastien Richard, www.macadam-diffusion.fr–Germany and Austria: Kerstin Heyen, www.13digits.info–Japan and Asia: Julie Onishi, voice@sings.jp

–Russia, Africa: Tony Moggach, www.tonymoggach.com–Scandinavia: Anna Eriksson, anna.eriksson26@gmail.com–Southern Europe: Bookport Associates, bookport@bookport.it

Individual orderswww.valiz.nl, info@valiz.nl

Design folder: Lotte Schröder, www.termsofcircumstance.orgTypeface: Karla (Google webfont), Andale Mono,

Letraset/Pickup; Helvetica 10mm + Largo 8mmPaper: Arcoprint Milk 100 gramsPrinting: Ten Brink, Meppel

© Valiz, Amsterdam / Trancity, Haarlem, artists, authors, designers, 2016 All rights reserved.

All contents and prices can be subject to change!

Website is now being revised: www.valiz.nl

grafie

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stadscultuur

design

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Marion von Osten, Once We Were Artists:A BAK Critical Reader in Artists’ PracticeTom Holert and Maria Hlavajova (eds.)

With BAK, basis voor actuele kunst, Utrecht, www.bakonline.org220 pp, paperback (otabind), 16,5 x 11,5 cm (h x w), ENG, April 2016Design: Kummer & HerrmanNUR 651, 642, ISBN 978-94-92095-14-5€ 19,90

Escaping easy categorization, Marion von Osten (1963) is an artist as much as a curator, an organizer-facilitator as much as a theorist, a teacher as much as an editor. This forthcoming BAK reader aims to offer a critical mapping of von Osten’s work. It seeks to chart a practice that, in spite of von Osten’s undisputed influence and importance in contemporary art and knowledge production has, until now, not been surveyed and analyzed in any thorough way. The book anthologizes commissioned essays (as well as three in-depth conversations) on various aspects and fields of von Osten’s holistic practice—one which is in essence collaborative and process-oriented—revolving around issues of feminism, economic theory, education and (post)coloniality.

Contributions: Kader Attia; Sabeth Buchmann & Judith Hopf; Diedrich Diederichsen; Tom Holert; Brian Kuan Wood; Isabell Lorey; Angela McRobbie; Peter Spillmann; Marina Vishmidt; and Tirdad Zolghadr

Marion von Osten, Once We Were Artists is the second in the BAK Critical Readers in Artists’ Practice Series. In parallel to BAK’s acclaimed series of Critical Readers in Contemporary Art, this publishing line examines the practice and body of work of a key international contemporary artist through a range of critical essays written by curators, art historians, theorists, critics, and artists.

BAK co-published with Valiz:Critical Readers in Contemporary Art

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9789492

095145

ISBN 978-94-92095-14-5

Ulay What Is This Thing Called Polaroid?

Frits Gierstberg, Katrin Pietsch

Elucidates how the medium Polaroid works and how Ulay uses it

Ulay, What Is This Thing Called Polaroid? focuses on the unique nature of Polaroid photography and the intimate relationship that the artist Ulay developed with this medium. Ulay has been exploring and stretching the possibilities of Polaroid since the 1970s, which resulted in radical and groundbreaking work. For him the unique and immediate character of each Polaroid photograph was, and still is, a perfect match for his performance and body art. The

experiments that Ulay conducted even led him to start working inside the large format Polaroid camera, radically merging the body of the artist with the body of the camera while the image is being created.

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ISBN 978-94-92095-13-8

Printed and bound in the EU

978-94-92095-13-8

67 Ulay, China Ring, 1987

Polaroid/Polacolor, New York Studio

This book provides insights on Ulay’s artistic pursuits with Polaroid and also explains the historical background of Polaroid, technical innovations, the specific chemical processes, and the challenges of conserving Polaroid prints.

BIOUlay (pseudonym of Frank Uwe Laysiepen. Solingen DE 1943) was trained as a photographer. Between 1968 and 1971 he worked extensively as a consultant for Polaroid. In the 1970s and 80s he explored the notion of identity in both (Polaroid) photography and performance. From 1976 to 1988 he closely collaborated with Marina Abramović. In recent years, Ulay has been engaged in artistic projects that raise questions on e.g. marginalized individuals, on national symbols and on the importance of water. Although primarily working in photo-graphy, Ulay still strongly links to the ‘performative’, through lecture-performances and workshops.

Published by Valiz Foundation, Amsterdam with Nederlands Fotomuseum, RotterdamSupported by Rabobank Nederlandwww.nederlandsfotomuseum.nl www.rabobank.com/art

128 pp, paperback (otabind), 22,6 x 17 cm (h x w), ENGJanuary 2016Design: Haller BrunNUR 642, ISBN 978-94-92095-13-8€ 19,90

79

Ulay, JOY, 2015A series of 100 unique Polaroids, Fujifilm Instax Wide Especially made for Rabobank

69

Ulay, Self­Portrait, 1990

Polagram, Boston Studio, USA

9789078

088721

ISBN 978-90-78088-72-1

9 789492 095138

ISBN 978-94-92095-13-8

Also available Whispers: Ulay on Ulay

ISBN 978-90-78088-72-1 € 35,00Whispers: Ulay on Ulay is supported by

Mondriaan Fund, Prins Bernhard Cultuurfonds

–AICA Award 2015–Best Dutch Book Designs 2014

Creating ValueRadical Perspectives from the ArtsMaaike Lauwaert, Francien van Westrenen (eds.)

‘We know what things cost but have no idea what they are worth’. Tony Judt

The prevailing ways in politics, banking, producing food, running organizations, building, and striving for ever more growth and profit, are beginning to show cracks. The biggest problem lies in the fact that value is mainly measured in economic terms of time and money. Value as a non-economic notion is one of the hardest concepts to tackle. As it is immaterial, value is one of those core concepts that shape society, influence hearts and minds but defy an easy definition. To reformulate value as a constituting factor in an open and caring society requires a ‘tilting vision’. This fresh, upside-down perspective can be found especially amongst artists, including architects, writers, musicians, designers, playwrights and poets.This book presents ten alternatives to regain personal power, find inspiration, shape a better environment, share energy and creativity, and build on a vital and just society. The authors propose to place values such as hesitation, care, giving and disconnection at the centre stage in order to reclaim value from the logic of capital. These ten alternatives are put forward in an anthology of texts by architects, philosophers, scientists, historians and economists. A selection of images and three artist’s contributions are included to inspire the reader to rethink the scope and language of the current value system. The ten ‘rules’ of value creation form the start of a new vocabulary to think and talk about what has value and how value is created.

With a selection of texts by:Walter Benjamin, Franco ‘Bifo’ Berardi, Michel de Certeau, Anthony Huberman, Charles Jencks, Siegfried Kracauer, Jan Ritsema, Viktor Shlovsky, Jan Verwoert and many many others

In cooperation with Stroom Den Haag, www.stroom.nlSupported by Stichting Doen, Gemeente Den Haag

ca 290 pp, paperback, ca 24 x 17 cm (h x w), ENG, June 2016Design: Elisabeth Klement & Laura PappaNUR 646, 656, ISBN 978-94-92095-00-8€ 19,90

Freek Lommee

Anonymous

Reto Pulfer

9 789492 095008

ISBN 978-94-92095-00-8

Krijn Giezen

Krijn Giezen

Rich

ard

Buck

mins

ter

Full

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Mark MandersMetahaven

Creating ValueRadical Perspectives from the ArtsWith work by: Atelier van Lieshout, Navid Nuur, Reto Pulfer, Yona Friedman, John Habraken, Thomas Lommee, Mierle Laderman Ukeles, Frank van Klingeren, Cedric Price, Lina Bo Bardi, Wendelien van Oldenborgh, Richard Buckminster Fuller, and many many others

What’s the

Use?Constellations of Art,

History and Knowledge

A Critical Reader

how do we understand art’s possibilities to know the world?

Is art only art insofar as it refuses to be useful? Or do art practices serve a broader purpose? We are in an age that has seen the re-drawing of boundaries between state and civil society, with boundless markets, unstable geopolitics and the all-pervasive effects of the Internet. Within this, how do we understand art’s possibility to know the world, to develop our ethics, to express our sense of historical belonging and to be, in different ways to different people, useful? What precedents from the past, practices today or protocols for the future might help to negotiate these questions? What’s the Use? Constellations of Art, History and Knowledge takes as a starting point the premise that art is an integral part of the social, economic and political process and that it is best understood in its dialogue with the social sphere than as a ‘thing in itself’. Viewed through a common lens that exposes the complex interplay between art, use, knowledge and history, the reader attempts to map a diverse terrain of examples and ideas. The contributing

writers and artists seek to demonstrate how in history and in contemporary practice the exchange between art, knowledge and use is set-up and played out.

The reader is both propositional and speculative—and deliberately inconclusive. It is structured in three parts, which reflect the main fields of inquiry of this book. Chapter 1: Constellating History traces the exchange between art, use and knowledge in historical practices, theories and movements; Chapter 2: Art Practice: Considering Knowledge and Use explores how artistic knowledge is used and the artistic use of knowledge through looking at specific practices and via artistic contributions; and 3: Exhibiting and Instituting discusses how questions of art’s use or uselessness implicate exhibition and institutional practice today.

What’s the Use? A Critical Reader is a strand of thinking within the five year programme The Uses of Art ‘The Legacy of 1848 and 1989’ by the museum confederation L’Internationale, drawing on three exhibitions (at the Van Abbemuseum and Museo Reina Sofia) and one conference (Hildesheim University) held between 2012-2014. www.internationaleonline.org

What’s the Use?Constellations of Art, History and KnowledgeA Critical ReaderNick Aikens, Thomas Lange, Jorinde Seijdel, Steven ten Thije (eds.)

Fig 4 Alexandra Pirici, If you don’t want us, we want you, 2012, sculptural addition to the Monument of Revolution, Bucharest

Actualizing History in the Living Body as Subject-Object Alexandra Pirici

Presented in the Confessions of the Imperfect exhibition at the Van Abbemuseum, Public Collection of Modern Art is structured on the basis of a ‘public collection’. The work is an ‘immaterial’ collection of artworks enacted by performers that refer to the museum’s history as a public institution whose cornerstone is its ‘material’ collection.

Public Collection moves toward building up a more specific immaterial collection of artworks, events, and manifestos that relate to the history of modernity and which also leak into the present (fig. 1 and 2).

Public Collection is more than a collection of translations, however. The enactments become new works brought into existence by living bodies/human material. Previous artworks are used as starting points. Yet they sometimes also evolve into formally different constructions, situations, or actions in the process of trying to function along the same lines, maintain the same course, or produce a similar experience (fig. 3). Thinking of what embodiment produces within the museum space and the exhibition ritual, we could maybe trace some links to art, use, knowledge, and history.

To begin with, the use of minimum means—human bodies alone—attempts to downscale and de-monumentalize history by reconstructing it on a human scale. This practice draws on a former one of mine, which I still continue, of embodying public monuments (fig. 4 and 5). One of the aims of this process is to question the monument’s symbolic function, its détournement and its confrontation with the human scale. There is a sort of ‘reality check’ where reality is not seen as a realm of existence fundamentally opposed to the virtual or symbolic. Reality is instead that which is already manifest in—not projected onto—the world; it is a ‘ground’ which, however, is never a sort of correspondent to a tabula rasa.

In a similar but less confrontational manner, these enactments of sometimes ‘monumental’ artworks in the gallery space aim to bring the living work both in tension and in alliance with the reference—these can be homages as much as a somewhat critical reconstructions.

On a more general level, the performers claim (parts of) art history for the present: they actualize it and bring it back into flux. The performers allow the present to remember history in a subjective and playful way, providing access through manifesting history in their bodies. Still or in action, these bodies invite the viewer to think of art history differently, as a living, porous, changing entity rather than an

196 197

What’s the Use? Practicing Art, Knowledge and Use Alexandra Pirici & Manuel Pelmuş Public Collection of Modern Art

Pirici & Pelmus

With contributions by

Nick AikensZdenka BadovinacManuel Borja-VillelTania BrugueraJohn ByrneJesús CarrilloChristina ClausenconstructLab Tamara Díaz Bringas Georges Didi-Huberman Charles Esche Annie FletcherLara Garcia Diaz Liam Gillick Jeanne van Heeswijk Alistair Hudson Thomas Lange

Li Mu Wendelien van Oldenborgh Travor Paglen Manuel Pelmus Alexandra Pirici Laurie Jo Reynolds Adrian Rifkin John Ruskin Lucía Sanromán Catarina Simão Sara Stehr Subtramas Steven ten ThijeWHW (What, How & for Whom)Stephen Wright George Yúdice

Fig 1 Alexandra Pirici & Manuel Pelmuş, Public Collection of Modern Art, 2014. Enactment of Luncheon on the Grass by Edouard Manet, 1862-1863

190 191

What’s the Use? Practicing Art, Knowledge and Use Alexandra Pirici & Manuel Pelmuş Public Collection of Modern Art

174 175

What’s the Use? Wendelien van OldenborghPracticing Art, Knowledge and Use Beauty and the Right to the Ugly

Notes to chapter 1:Newspapers from the 1970s

EINDHOVENS DAGBLAD Saturday 3 November 1973

THE BAR AS DOCTOR’S WAITINGROOM

‘t Karregat: purely an object for use

No-one owns anything here, but… Everyone experiences a lot

If after completion of the building it turns out that the classes suffer from each other’s noise, it seems that an acoustic accommodation can be easily realized.

On the streetsIn the Middle Ages a significant part of life took place on the street. In ‘t Karregat we experience exactly that. As it appears to us now, the building doesn’t strike us as an

experiment, despite its experimental character.

In this covered public space, some people will have to experiment with themselves first, since they will have to overcome a certain alienation from everyday things. To experience normal things in a human way, is unfortunately not a given for everyone. ‘t Karregat can be a help in that. And this cannot be said of each space or building.

DE VOLKSKRANT Saturday 9 March 1974

‘t Karregat is a dangerous building

Social worker Nico van der Spek:The building has brought latent conflict to the surface.

The building has caused a number of things. In a very short time some twenty voluntary teams were formed,

in which about 200 people are active.

The women have to attend the meetings in the evenings and that raised the simple question: Who is staying with the kids tonight? And because of these many work teams where the conduct was very informal, the closed family unit has been challenged.

Families started to interfere with each other. A family problem has become a neighbourhood problem and so a very strong social control has developed.

Ach, in essence, the problems which occur everywhere in society are expressed through this building. There is nothing against all these conflicts, if you learn how to dominate them.

Published in cooperation with Van Abbemuseum, Eindhoven, www.vanabbemuseum.nl & University Hildesheim, www.uni-hildesheim.de Supported by the Mondriaan Fund, www.mondriaanfonds.nl, European Union/Culture Programme

496 pp, paperback, 24 x 17 cm (h x w), ENG, April 2016Design: George & Harrison, www.georgeandharrison.nlNUR 651, ISBN 978-94-92095-12-1, € 27,50

Later in 2016 also available as E-Book! Check our website or L’Internationale’swww.internationaleonline.org

9789492

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AFRIKAANDERWIJK COOPERATIVEThose who look at neighbourhoods in large cities solely through a finan-cial lens (with economic indicators) might only see backwardness, poverty, crime, and other threats. The Afrikaanderwijk Cooperative, however, sees the advantages of a diversity of cultures, inhabitants, and shopkeepers, each with their own talents, knowledge, and skills. Based on a long-term Freehouse presence in the area the Afrikaanderwijk Cooperative knows the power of local communities and small organizations in which open learning and work go together. In 2014 Freehouse decided to hand over the task of collective production to to a custom-made organizational form: a cooperative on the scale of a neighbourhood. An umbrella organization that brings together workspaces with shopkeepers, local makers, social foundations, and the market organization. The cooperative creates opportunities through the provision of skill-based labour, training, services, and products to enhance the self-organizing abil-ity while trying not to waste talent and human capital. It stimulates sus-tainable local production, cultural development, knowledge exchange, and entrepreneurship, combined with shared responsibility and participation. The result is a self-organized and self-run body that continues to create lo-cal, self-produced economic opportunities, leverage political power to shift policy, and negotiate economic advantages. It also develops local skills and self-certifications, strengthens resilient intercultural networks, and tries to create a radical form for self-governance

of an area and reinvest profits directly into the local community.

ORGANIZATIONAL DIAGRAM

FINANCIAL FLOWDRAWING FINANCIAL FLOWS INWARD The extraction of financial capital for social, intellectual, affective values. Top: normal situation, outward spiral. Bottom: desired state, inward spiral. Aetzel Griffioen | demeent.org

The Afrikaanderwijk Cooperative applies a self-organized

approach in order to make use of all the currently untapped

talents and resources that are present in the neighbourhood.

Since the start in 2014 it set up several services and activities

to generate work, space, and stipulate cost-effective deals

for its members. The various activities can be categorized in

space, services, and collaborations.

energy collecTive - service

In cooperation with Essent the Afrikaanderwijk Cooperative

launched an energy collective that realizes substantial

savings for businesses in the neighbourhood. At present the

first businesses have signed a collective energy contract in

order to save operating costs. Simultaneously the

cooperative also examines how to supply individual

households so more people take advantage of collective

buying power.

schoon - service Cleaning service schoon ensures that cleaning work that

normally is outsourced to companies elsewhere is ‘insourced’

and carried out by members of the WORKERS CO-OP. The

Afrikaanderwijk Cooperative facilitates new jobs and guides

starters entering the job market. Currently SCHOON is

commissioned by Vestia Feijenoord to clean housing block

vestibules in the neighbourhood.

DEVELOPED SPACE, SERVICES, AND COLLABORATIONS

samen & anders - collaboraTion

In the upcoming years Laurens living and care centre Simeon

and Anna transforms from a building solely for the elderly, to

a place where different groups live together on a reciprocal

basis. Called Samen & Anders, it will also house small-scale

shopkeepers that serve both inhouse residents, neighbours,

and passersby. The cooperative develops the details and tests

partnerships for this new care concept.

home cooks feijenoord - collaboraTion

Co-op member the Neighbourhood Kitchen and DOCK

Feijenoord set up a meal service for elderly, sick, and disabled

people. In Home Cooks Feijenoord professionals and volun-

teers prepare meals in people’s homes. Healthy food, talent

development, and combating loneliness go hand in hand. As

project partner the cooperative provides management assis-

tance and Het Gemaal as location for communal dinners.

a neighbourhood common - space

Het Gemaal (an old pumping station transformed into a res-

taurant) is turned into a public place for the neighbourhood.

A place for meetings, where presentations and production

come together. With committed users, as the Neighbourhood

Kitchen and several partners that pay rent, it is ensured that

this significant building is free as a central location for local

programming activities and knowledge sharing.

FREEHOUSE IN THE AFRIKAANDERWIJK 2008 – 2014Freehouse renegotiated various urgencies in the area and created urban unions. New forms of commonality came into being through setting up chains of collec-tive production. A process of social, eco-nomical, and cultural activities that moved on several scales and made the different informal practices of the everyday emer-gent, while re-rooting them into stronger networks. It was called Radicalizing the Local. By creating conditions for collabora-tive production, it allowed individual mak-ers to pool resources and legitimize their informal businesses. The work on knitting stronger networks into urban unions and its cultural capabilities necessitated a new organizational (and economical) form on the scale of a neighborhood rather than that of interest groups.

AFRIKAANDER

WIJK CO-OP

BOARD

BOARD

DAILYORGANIZATION

SERVICECO-OP

YOUTHCO-OP

MEMBERS MEMBERS MEMBERS

CERTIFICATIONCO-OP

WORKCO-OP

(education, training, etc.)

(inhabitants) (shops, organizations, foundations, etc.) (youngsters)

(energy, neighbourhood services, etc.)

ADVISORYBOARD

AFRIKAANDER

WIJK CO-OP

37members

AFRIKAANDER

WIJKCO-OP

25%

25%

50%

IMPLEMENTED

culture, craftmanship, action, enterpreneurial, profit, conflict, work, collective, demonstration, information

50%

25%

25%

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What’s the Use? Practicing Art, Knowledge and Use Jeanne van Heeswijk Free House

Jeanne van Heeswijk

De waarde van het alledaagseVan beleidsdrang naar bewonersperspectief in de stadswijkPeter Beijer, Ellen de Groot, Jolanda Hoeflak, Vincent Platenkamp

Pleidooi voor minder overheidsingrijpen en voor meer vertrouwen op de vitaliteit van wijken en hun bewoners. Drie ‘gewone’ wijken in Tilburg, Breda en Roosendaal staan centraal in dit boek. ‘Gewone’ wijken, geen rijke wijken, maar ook geen pro-bleem- of aandachtswijken. ‘Gewoon’ omdat bewoners zelf in staat zijn hun dagelijks leven op orde te brengen, zich weten te verhouden tot hun buren en voorkomende problemen zelf op-lossen. Dat geeft hun een ander perspectief op de wijk dan professionals, zoals welzijns-werkers, corporatiemedewerkers en beleids-ambtenaren. Soms leidt dat tot een breuk tussen de alledaagse en institutionele werelden met verstrekkende gevolgen. Overheidsbeleid doet soms meer kwaad dan goed omdat het geen rekening houdt met de zelfredzaamheid van bewoners. Professionals willen graag behulpzaam zijn, maar hun ingrepen ontnemen bewoners soms hun eigen middelen en instrumenten. Hun werk vraagt om een serieuze herbezinning van doel en middelen.Dit boek beschrijft op een directe manier het dagelijks leven in Theresia in Tilburg, in

Brabantpark in Breda en in Kortendijk in Roosendaal. Drie wijken uit drie perioden van onze stedenbouw (vooroorlogs, vroeg-naoorlogs en jaren zeventig) staan symbool voor de meerder-heid van de Nederlandse stadswijk. Het beschrijft hoe je kwalitatief onderzoek (d.w.z. praten met burgers) doet en het is een radicaal pleidooi voor een ander stedelijk beleid.

Een inspirerend boek voor stedenbouwkundigen, lokale politici/ambtenaren en professionals in de sociale sector.

BIODe auteurs zijn verbonden aan de NHTV, de Hogeschool in Breda. Samen met studenten van de afdeling Urban Design deden zij het onderzoek en verwerkten dat tot dit boek. Geïllustreerd met foto’s en kaarten van de geplande en de geleefde stad, gemaakt door de studenten NHTV.

Boekpresentaties in de drie wijken en een landelijke studiebijeenkomst in Pakhuis De Zwijger in Amsterdam.

ENGLISHDe waarde van het alledaagse [The Value of Everyday Life] takes a look at the vitality and self-organization of local residents, taking as its starting point daily life in three existing Dutch neighbourhoods, each with their own history and urban development background. Government policies often do more harm than good here, as they do not take the residents’ own coping ability into account. This book advocates a different urban policy, one that shows more faith in the strength and vitality of local residents. Text only in DUTCH

Ism NHTV Breda en Bureau 77 in Tilburg; mede mogelijk gemaakt door de provincie Noord Brabant 176 pp, paperback, 23 x 17 cm, NED (only in Dutch), April 2016Design: Coppens & AlbertsNUR 758, ISBN 978-94-92095-16-9€ 19,50

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trancityxvalizwww.trancity.nlSimon FrankePia PolAstrid Vorstermans

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01. De uitvinding van de leeszaal

NL—ISBN 978-90-78088-96-7€ 22,50

02. Het nieuwe stadmaken NL—ISBN 978-94-92095-05-3

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03. Binational UrbanismE—ISBN 978-94-92095-06-0

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04. Pioniers in de StadNL—ISBN 978-90-78088-90-5

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05. Farming the CityE—ISBN 978-90-78088-63-9

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06. We Own The CityE—ISBN 978-90-78088-91-2

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07. Stedelingen veranderen de stad

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Binational Urbanism On the Road to Paradise

Bernd Upmeyer

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Trancity and Valiz share a common understanding regarding the function of publications. Our books offer critical reflection, interdisciplinary inspiration, and establish a connection between cultural disciplines and socio-economic questions.

Trancity en Valiz vinden elkaar in een gemeenschappelijke opvatting over de functie van publicaties. Onze boeken bieden kritische reflectie, zorgen voor interdisciplinaire inspiratie en leggen het verband tussen culturele disciplines en economische en sociaal-maatschappelijke kwesties.

stedelijke ontwikkeling

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