Instagram Story Viewer

On 𝐒𝐚𝐭𝐮𝐫𝐝𝐚𝐲 𝟐𝟑 𝐌𝐚𝐲 we celebrate the launch of the publication 𝑁𝑜𝑡𝑒𝑠 𝑡𝑜 𝑂𝑡ℎ𝑒𝑟 𝐹𝑢𝑡𝑢𝑟𝑒𝑠: 𝐹𝑖𝑓𝑡𝑒𝑒𝑛 𝑌𝑒𝑎𝑟𝑠 𝑜𝑓 𝐹𝑟𝑎𝑚𝑒𝑟 𝐹𝑟𝑎𝑚𝑒𝑑.

In the last fifteen years, long-standing norms such as the autonomy of art, the neutrality of exhibition spaces, and the hegemony of Western art history have been increasingly questioned. This has been sparked by protest movements, shifts in academic discourse, and the amplified voices of communities long excluded from cultural institutions. In response, artistic and curatorial approaches have emerged that foreground relationality and re-examine history from a multiplicity of perspectives.

𝑁𝑜𝑡𝑒𝑠 𝑡𝑜 𝑂𝑡ℎ𝑒𝑟 𝐹𝑢𝑡𝑢𝑟𝑒𝑠 is a 324-page anthology that explores the ways of working, remembering and acting that have shaped Framer Framed's continuous learning, while looking ahead to futures imagined collectively.

In the spirit of this approach, to coincide with the launch we’re hosting a book fair with many collectives, artists, activists and independent publishers – including long-time collaborators and admired peers – who contribute to a rich culture of subversive publishing.

𝐏𝐫𝐨𝐠𝐫𝐚𝐦𝐦𝐞
11:00 Book Fair including presentations from publishers throughout the day
17:00 𝑁𝑜𝑡𝑒𝑠 𝑡𝑜 𝑂𝑡ℎ𝑒𝑟 𝐹𝑢𝑡𝑢𝑟𝑒𝑠 book launch + party

▪️ Sign up and pre-order → 🔗 IN BIO

▬▬▬

𝐍𝐨𝐭𝐞𝐬 𝐭𝐨 𝐎𝐭𝐡𝐞𝐫 𝐅𝐮𝐭𝐮𝐫𝐞𝐬 – 𝐅𝐢𝐟𝐭𝐞𝐞𝐧 𝐘𝐞𝐚𝐫𝐬 𝐨𝐟 𝐅𝐫𝐚𝐦𝐞𝐫 𝐅𝐫𝐚𝐦𝐞𝐝
324-pages
Language: English and Dutch

𝐂𝐨𝐧𝐭𝐫𝐢𝐛𝐮𝐭𝐢𝐨𝐧𝐬
Amal Alhaag, Lotte Arndt, Noa Bawits, Cas Bool, Edine Célestin, Panashe Chigumadzi, Binna Choi, Anna Dasović, Angélica de Freitas, Radha D’Souza, Zippora Elders, Charles Esche, Evie Evans, Chandra Frank, Karen G., Özkan Gölpinar, Oulimata Gueye, Lene ter Haar, Samia Henni, Gordon Hookey, Chris Keulemans, KUNCI Study Forum & Collective, Olympia Latupeirissa, Maëline Le Lay, Emily Shin-Jie Lee, Natasha Marie Llorens, Canan Marasligil, Teresa Morales, Josien Pieterse, Nathalie Roos, Benjamin Seroussi, Sim Chi Yin, Dewi Sofia, Kees Stad / Hudig, Alexander Supartono, Vincent van Velsen, Mirjam Westen, Yin Aiwen, Murad Zorava

𝐆𝐫𝐚𝐩𝐡𝐢𝐜 𝐃𝐞𝐬𝐢𝐠𝐧
Van Lennep

On 𝐒𝐚𝐭𝐮𝐫𝐝𝐚𝐲 𝟐𝟑 𝐌𝐚𝐲 we celebrate the launch of the publication 𝑁𝑜𝑡𝑒𝑠 𝑡𝑜 𝑂𝑡ℎ𝑒𝑟 𝐹𝑢𝑡𝑢𝑟𝑒𝑠: 𝐹𝑖𝑓𝑡𝑒𝑒𝑛 𝑌𝑒𝑎𝑟𝑠 𝑜𝑓 𝐹𝑟𝑎𝑚𝑒𝑟 𝐹𝑟𝑎𝑚𝑒𝑑.

In the last fifteen years, long-standing norms such as the autonomy of art, the neutrality of exhibition spaces, and the hegemony of Western art history have been increasingly questioned. This has been sparked by protest movements, shifts in academic discourse, and the amplified voices of communities long excluded from cultural institutions. In response, artistic and curatorial approaches have emerged that foreground relationality and re-examine history from a multiplicity of perspectives.

𝑁𝑜𝑡𝑒𝑠 𝑡𝑜 𝑂𝑡ℎ𝑒𝑟 𝐹𝑢𝑡𝑢𝑟𝑒𝑠 is a 324-page anthology that explores the ways of working, remembering and acting that have shaped Framer Framed's continuous learning, while looking ahead to futures imagined collectively.

In the spirit of this approach, to coincide with the launch we’re hosting a book fair with many collectives, artists, activists and independent publishers – including long-time collaborators and admired peers – who contribute to a rich culture of subversive publishing.

𝐏𝐫𝐨𝐠𝐫𝐚𝐦𝐦𝐞
11:00 Book Fair including presentations from publishers throughout the day
17:00 𝑁𝑜𝑡𝑒𝑠 𝑡𝑜 𝑂𝑡ℎ𝑒𝑟 𝐹𝑢𝑡𝑢𝑟𝑒𝑠 book launch + party

▪️ Sign up and pre-order → 🔗 IN BIO

▬▬▬

𝐍𝐨𝐭𝐞𝐬 𝐭𝐨 𝐎𝐭𝐡𝐞𝐫 𝐅𝐮𝐭𝐮𝐫𝐞𝐬 – 𝐅𝐢𝐟𝐭𝐞𝐞𝐧 𝐘𝐞𝐚𝐫𝐬 𝐨𝐟 𝐅𝐫𝐚𝐦𝐞𝐫 𝐅𝐫𝐚𝐦𝐞𝐝
324-pages
Language: English and Dutch

𝐂𝐨𝐧𝐭𝐫𝐢𝐛𝐮𝐭𝐢𝐨𝐧𝐬
Amal Alhaag, Lotte Arndt, Noa Bawits, Cas Bool, Edine Célestin, Panashe Chigumadzi, Binna Choi, Anna Dasović, Angélica de Freitas, Radha D’Souza, Zippora Elders, Charles Esche, Evie Evans, Chandra Frank, Karen G., Özkan Gölpinar, Oulimata Gueye, Lene ter Haar, Samia Henni, Gordon Hookey, Chris Keulemans, KUNCI Study Forum & Collective, Olympia Latupeirissa, Maëline Le Lay, Emily Shin-Jie Lee, Natasha Marie Llorens, Canan Marasligil, Teresa Morales, Josien Pieterse, Nathalie Roos, Benjamin Seroussi, Sim Chi Yin, Dewi Sofia, Kees Stad / Hudig, Alexander Supartono, Vincent van Velsen, Mirjam Westen, Yin Aiwen, Murad Zorava

𝐆𝐫𝐚𝐩𝐡𝐢𝐜 𝐃𝐞𝐬𝐢𝐠𝐧
Van Lennep

On 𝐒𝐚𝐭𝐮𝐫𝐝𝐚𝐲 𝟐𝟑 𝐌𝐚𝐲 we celebrate the launch of the publication 𝑁𝑜𝑡𝑒𝑠 𝑡𝑜 𝑂𝑡ℎ𝑒𝑟 𝐹𝑢𝑡𝑢𝑟𝑒𝑠: 𝐹𝑖𝑓𝑡𝑒𝑒𝑛 𝑌𝑒𝑎𝑟𝑠 𝑜𝑓 𝐹𝑟𝑎𝑚𝑒𝑟 𝐹𝑟𝑎𝑚𝑒𝑑.

In the last fifteen years, long-standing norms such as the autonomy of art, the neutrality of exhibition spaces, and the hegemony of Western art history have been increasingly questioned. This has been sparked by protest movements, shifts in academic discourse, and the amplified voices of communities long excluded from cultural institutions. In response, artistic and curatorial approaches have emerged that foreground relationality and re-examine history from a multiplicity of perspectives.

𝑁𝑜𝑡𝑒𝑠 𝑡𝑜 𝑂𝑡ℎ𝑒𝑟 𝐹𝑢𝑡𝑢𝑟𝑒𝑠 is a 324-page anthology that explores the ways of working, remembering and acting that have shaped Framer Framed's continuous learning, while looking ahead to futures imagined collectively.

In the spirit of this approach, to coincide with the launch we’re hosting a book fair with many collectives, artists, activists and independent publishers – including long-time collaborators and admired peers – who contribute to a rich culture of subversive publishing.

𝐏𝐫𝐨𝐠𝐫𝐚𝐦𝐦𝐞
11:00 Book Fair including presentations from publishers throughout the day
17:00 𝑁𝑜𝑡𝑒𝑠 𝑡𝑜 𝑂𝑡ℎ𝑒𝑟 𝐹𝑢𝑡𝑢𝑟𝑒𝑠 book launch + party

▪️ Sign up and pre-order → 🔗 IN BIO

▬▬▬

𝐍𝐨𝐭𝐞𝐬 𝐭𝐨 𝐎𝐭𝐡𝐞𝐫 𝐅𝐮𝐭𝐮𝐫𝐞𝐬 – 𝐅𝐢𝐟𝐭𝐞𝐞𝐧 𝐘𝐞𝐚𝐫𝐬 𝐨𝐟 𝐅𝐫𝐚𝐦𝐞𝐫 𝐅𝐫𝐚𝐦𝐞𝐝
324-pages
Language: English and Dutch

𝐂𝐨𝐧𝐭𝐫𝐢𝐛𝐮𝐭𝐢𝐨𝐧𝐬
Amal Alhaag, Lotte Arndt, Noa Bawits, Cas Bool, Edine Célestin, Panashe Chigumadzi, Binna Choi, Anna Dasović, Angélica de Freitas, Radha D’Souza, Zippora Elders, Charles Esche, Evie Evans, Chandra Frank, Karen G., Özkan Gölpinar, Oulimata Gueye, Lene ter Haar, Samia Henni, Gordon Hookey, Chris Keulemans, KUNCI Study Forum & Collective, Olympia Latupeirissa, Maëline Le Lay, Emily Shin-Jie Lee, Natasha Marie Llorens, Canan Marasligil, Teresa Morales, Josien Pieterse, Nathalie Roos, Benjamin Seroussi, Sim Chi Yin, Dewi Sofia, Kees Stad / Hudig, Alexander Supartono, Vincent van Velsen, Mirjam Westen, Yin Aiwen, Murad Zorava

𝐆𝐫𝐚𝐩𝐡𝐢𝐜 𝐃𝐞𝐬𝐢𝐠𝐧
Van Lennep

Join us this 𝐒𝐮𝐧𝐝𝐚𝐲 𝟏𝟕 𝐌𝐚𝐲 for the finissage of the exhibition 𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠, including a conversation with curator 𝐅𝐚𝐛𝐢𝐞𝐧𝐧𝐞 𝐑𝐚𝐜𝐡𝐦𝐚𝐝𝐢𝐞𝐯, artist 𝐈𝐧𝐚𝐬 𝐇𝐚𝐥𝐚𝐛𝐢 and researcher 𝐒𝐚𝐦𝐢𝐚 𝐇𝐞𝐧𝐧𝐢, as well as a final opportunity to experience 𝐛𝐮𝐮𝐥𝐛𝐮𝐮𝐥’s performance 𝑇ℎ𝑒 𝐵𝑢𝑟𝑖𝑎𝑙 𝑜𝑓 𝑎 𝐵𝑟𝑜𝑤𝑛 𝐺𝑜𝑜𝑠𝑒 (2026).

In their conversation, Fabienne Rachmadiev, Inas Halabi and Samia Henni address the invisible yet lasting impacts of nuclear activity across different contexts. The discussion draws from Halabi’s work 𝑊𝑒 𝐻𝑎𝑣𝑒 𝐴𝑙𝑤𝑎𝑦𝑠 𝐾𝑛𝑜𝑤𝑛 𝑡ℎ𝑒 𝑊𝑖𝑛𝑑’𝑠 𝐷𝑖𝑟𝑒𝑐𝑡𝑖𝑜𝑛 (2019-20), which probes the possible burial of nuclear waste and the presence of man-made radiation in the Hebron District in Palestine, as well as Henni’s research into French nuclear colonialism in the Algerian Sahara, which formed the basis of the exhibition 𝑃𝑒𝑟𝑓𝑜𝑟𝑚𝑖𝑛𝑔 𝐶𝑜𝑙𝑜𝑛𝑖𝑎𝑙 𝑇𝑜𝑥𝑖𝑐𝑖𝑡𝑦 in 2023.

buulbuul's performance ties together several lifelines stemming from the regions of Kazakhstan deeply affected by nuclear testing and radiation. Blending ritual, voice and distorted soundscape, it reflects on the grief, rage and generational care that gets passed on amid the denigration of nuclear-affected soil, water and living beings.

𝐏𝐫𝐨𝐠𝐫𝐚𝐦𝐦𝐞
15:00 Conversation with Inas Halabi, Samia Henni and Fabienne Rachmadiev
17:00 Performance by buulbuul
17:30 Drinks

▪️Sign up → 🔗 IN BIO

This event is in English. Admission is free, pay what you can.

𝐋𝐨𝐜𝐚𝐭𝐢𝐨𝐧
Framer Framed
Oranje-Vrijstaatkade 71
Amsterdam

▬▬▬

@fabidanslemetro @inas.halabi @samia.henni @haider.mkht @yourfriendkas @sonicacts

𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 𝑖𝑠 𝑐𝑢𝑟𝑎𝑡𝑒𝑑 𝑏𝑦 𝐹𝑎𝑏𝑖𝑒𝑛𝑛𝑒 𝑅𝑎𝑐ℎ𝑚𝑎𝑑𝑖𝑒𝑣, 𝑐𝑜𝑚𝑚𝑖𝑠𝑠𝑖𝑜𝑛𝑒𝑑 𝑎𝑛𝑑 𝑝𝑟𝑜𝑑𝑢𝑐𝑒𝑑 𝑏𝑦 𝐹𝑟𝑎𝑚𝑒𝑟 𝐹𝑟𝑎𝑚𝑒𝑑, 𝑎𝑛𝑑 𝑝𝑟𝑒𝑠𝑒𝑛𝑡𝑒𝑑 𝑖𝑛 𝑝𝑎𝑟𝑡𝑛𝑒𝑟𝑠ℎ𝑖𝑝 𝑤𝑖𝑡ℎ 𝑆𝑜𝑛𝑖𝑐 𝐴𝑐𝑡𝑠. 𝑆𝑝𝑎𝑡𝑖𝑎𝑙 𝑑𝑒𝑠𝑖𝑔𝑛 𝑖𝑠 𝑏𝑦 𝐵𝑢𝑟𝑒𝑎𝑢 𝐿𝐴𝐷𝐴.

📸 © Pieter Kers

Join us this 𝐒𝐮𝐧𝐝𝐚𝐲 𝟏𝟕 𝐌𝐚𝐲 for the finissage of the exhibition 𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠, including a conversation with curator 𝐅𝐚𝐛𝐢𝐞𝐧𝐧𝐞 𝐑𝐚𝐜𝐡𝐦𝐚𝐝𝐢𝐞𝐯, artist 𝐈𝐧𝐚𝐬 𝐇𝐚𝐥𝐚𝐛𝐢 and researcher 𝐒𝐚𝐦𝐢𝐚 𝐇𝐞𝐧𝐧𝐢, as well as a final opportunity to experience 𝐛𝐮𝐮𝐥𝐛𝐮𝐮𝐥’s performance 𝑇ℎ𝑒 𝐵𝑢𝑟𝑖𝑎𝑙 𝑜𝑓 𝑎 𝐵𝑟𝑜𝑤𝑛 𝐺𝑜𝑜𝑠𝑒 (2026).

In their conversation, Fabienne Rachmadiev, Inas Halabi and Samia Henni address the invisible yet lasting impacts of nuclear activity across different contexts. The discussion draws from Halabi’s work 𝑊𝑒 𝐻𝑎𝑣𝑒 𝐴𝑙𝑤𝑎𝑦𝑠 𝐾𝑛𝑜𝑤𝑛 𝑡ℎ𝑒 𝑊𝑖𝑛𝑑’𝑠 𝐷𝑖𝑟𝑒𝑐𝑡𝑖𝑜𝑛 (2019-20), which probes the possible burial of nuclear waste and the presence of man-made radiation in the Hebron District in Palestine, as well as Henni’s research into French nuclear colonialism in the Algerian Sahara, which formed the basis of the exhibition 𝑃𝑒𝑟𝑓𝑜𝑟𝑚𝑖𝑛𝑔 𝐶𝑜𝑙𝑜𝑛𝑖𝑎𝑙 𝑇𝑜𝑥𝑖𝑐𝑖𝑡𝑦 in 2023.

buulbuul's performance ties together several lifelines stemming from the regions of Kazakhstan deeply affected by nuclear testing and radiation. Blending ritual, voice and distorted soundscape, it reflects on the grief, rage and generational care that gets passed on amid the denigration of nuclear-affected soil, water and living beings.

𝐏𝐫𝐨𝐠𝐫𝐚𝐦𝐦𝐞
15:00 Conversation with Inas Halabi, Samia Henni and Fabienne Rachmadiev
17:00 Performance by buulbuul
17:30 Drinks

▪️Sign up → 🔗 IN BIO

This event is in English. Admission is free, pay what you can.

𝐋𝐨𝐜𝐚𝐭𝐢𝐨𝐧
Framer Framed
Oranje-Vrijstaatkade 71
Amsterdam

▬▬▬

@fabidanslemetro @inas.halabi @samia.henni @haider.mkht @yourfriendkas @sonicacts

𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 𝑖𝑠 𝑐𝑢𝑟𝑎𝑡𝑒𝑑 𝑏𝑦 𝐹𝑎𝑏𝑖𝑒𝑛𝑛𝑒 𝑅𝑎𝑐ℎ𝑚𝑎𝑑𝑖𝑒𝑣, 𝑐𝑜𝑚𝑚𝑖𝑠𝑠𝑖𝑜𝑛𝑒𝑑 𝑎𝑛𝑑 𝑝𝑟𝑜𝑑𝑢𝑐𝑒𝑑 𝑏𝑦 𝐹𝑟𝑎𝑚𝑒𝑟 𝐹𝑟𝑎𝑚𝑒𝑑, 𝑎𝑛𝑑 𝑝𝑟𝑒𝑠𝑒𝑛𝑡𝑒𝑑 𝑖𝑛 𝑝𝑎𝑟𝑡𝑛𝑒𝑟𝑠ℎ𝑖𝑝 𝑤𝑖𝑡ℎ 𝑆𝑜𝑛𝑖𝑐 𝐴𝑐𝑡𝑠. 𝑆𝑝𝑎𝑡𝑖𝑎𝑙 𝑑𝑒𝑠𝑖𝑔𝑛 𝑖𝑠 𝑏𝑦 𝐵𝑢𝑟𝑒𝑎𝑢 𝐿𝐴𝐷𝐴.

📸 © Pieter Kers

Mark your calendars – on 23 May we host a book fair and celebrate the publication 𝑁𝑜𝑡𝑒𝑠 𝑡𝑜 𝑂𝑡ℎ𝑒𝑟 𝐹𝑢𝑡𝑢𝑟𝑒𝑠: 𝐹𝑖𝑓𝑡𝑒𝑒𝑛 𝑌𝑒𝑎𝑟𝑠 𝑜𝑓 𝐹𝑟𝑎𝑚𝑒𝑟 𝐹𝑟𝑎𝑚𝑒𝑑 📚

Launching during the fair, 𝑁𝑜𝑡𝑒𝑠 𝑡𝑜 𝑂𝑡ℎ𝑒𝑟 𝐹𝑢𝑡𝑢𝑟𝑒𝑠 revisits – through multiple perspectives – the ways of working, remembering and acting that have shaped Framer Framed’s now more-than-fifteen-year history of collaborative exhibition-making, community organising and radical pedagogy.

The special anthology reflects a commitment to working toward possible futures, especially those imagined collectively. In this spirit, we’ve invited old and new friends and collaborators – collectives, artists and independent publishers contributing to a vibrant culture of subversive publishing – to share their practices.

Visit each stand throughout the day, with food and drinks by The Migrant Kitchen & Het Rode Keukentje.

▪️ Pre-order 𝑁𝑜𝑡𝑒𝑠 𝑡𝑜 𝑂𝑡ℎ𝑒𝑟 𝐹𝑢𝑡𝑢𝑟𝑒𝑠 and sign up for the launch → 🔗 IN BIO

▬▬▬

𝐏𝐫𝐨𝐠𝐫𝐚𝐦𝐦𝐞
11:00 Open
12:00 Presentations from collaborators
17:00 Launch: 𝑁𝑜𝑡𝑒𝑠 𝑡𝑜 𝑂𝑡ℎ𝑒𝑟 𝐹𝑢𝑡𝑢𝑟𝑒𝑠 and party

𝐅𝐞𝐚𝐭𝐮𝐫𝐞𝐝 𝐏𝐮𝐛𝐥𝐢𝐬𝐡𝐞𝐫𝐬
A Tale of a Tub | Errant Journal | HumDrum Press | Institute of Network Cultures | KIOSK Rotterdam | Kunstinstituut Melly | Learning Palestine | Limestone Books | Low-Budget Projects | Monstrous Press (Sandberg Institute) | NAi010 publishers | Nowhere Netherlands | Onomatopee | OUTLINE Magazine | Page Not Found | Roots to Fruits | Set Margins’ Press | So Far So Real | Sonic Acts | Spookstad | Starfish Books | Subjective Editions | Tijdschrift Kunstlicht | We Sell Reality | and more to be confirmed!

@themigrantkitchen @hetrodekeukentje @kioskrotterdam @kunstinstituutmelly @subjectiveeditions @onomatopeenet @radna @tijdschriftkunstlicht @____page_not_found____ @rootstofruits.info @mirellevantulder @a_table_of_a_tub @limestone_books_maas @sonicacts @yazan_khalili @humdrum_press @errantjournal @spookstad.boo @outline.platform @setmargins @sandberginstituut @nowhere.netherlands @nai010_publishers @wesellreality @mennogrootveld

📸 Graphic by @anne.htzgs based on the design by Van Lennep

On show in the current exhibition 𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠, artist Inas Halabi's 𝑊𝑒 𝐻𝑎𝑣𝑒 𝐴𝑙𝑤𝑎𝑦𝑠 𝐾𝑛𝑜𝑤𝑛 𝑡ℎ𝑒 𝑊𝑖𝑛𝑑’𝑠 𝐷𝑖𝑟𝑒𝑐𝑡𝑖𝑜𝑛 examines the material effects of radiation, both physically and metaphorically. Drawing on research by local nuclear physicist Khalil Thabayneh, the work investigates the potential burial of nuclear waste and the presence of man-made radiation in the Hebron District of Palestine.

By placing red plastic filter sheets in front of the camera lens in various locations, different shades of red are generated to make visible the levels of radioactivity. The isotope Cesium 137, invisible but deadly, can be seen as a synecdoche for a more ungraspable invisibility – the systemic networks of power and control in the region.

𝐅𝐢𝐧𝐢𝐬𝐬𝐚𝐠𝐞: 𝐒𝐮𝐧𝐝𝐚𝐲 𝟏𝟕 𝐌𝐚𝐲, 𝟏𝟓:𝟎𝟎-𝟏𝟖:𝟎𝟎
At the exhibition's finissage, Halabi will discuss her practice’s concern with social and political forms of power and the impact of overlooked and suppressed histories. Alongside curator Fabienne Rachmadiev and researcher Samia Henni, she will reflect on the enduring yet often unseen impacts of nuclear activity across different contexts.

▪️Sign up → 🔗 IN BIO

This event is in English. Admission is free, pay what you can.

𝐋𝐨𝐜𝐚𝐭𝐢𝐨𝐧
Framer Framed
Oranje-Vrijstaatkade 71
Amsterdam

▬▬▬

@inas.halabi @fabidanslemetro @sonicacts

𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 𝑖𝑠 𝑐𝑢𝑟𝑎𝑡𝑒𝑑 𝑏𝑦 𝐹𝑎𝑏𝑖𝑒𝑛𝑛𝑒 𝑅𝑎𝑐ℎ𝑚𝑎𝑑𝑖𝑒𝑣, 𝑐𝑜𝑚𝑚𝑖𝑠𝑠𝑖𝑜𝑛𝑒𝑑 𝑎𝑛𝑑 𝑝𝑟𝑜𝑑𝑢𝑐𝑒𝑑 𝑏𝑦 𝐹𝑟𝑎𝑚𝑒𝑟 𝐹𝑟𝑎𝑚𝑒𝑑, 𝑎𝑛𝑑 𝑝𝑟𝑒𝑠𝑒𝑛𝑡𝑒𝑑 𝑖𝑛 𝑝𝑎𝑟𝑡𝑛𝑒𝑟𝑠ℎ𝑖𝑝 𝑤𝑖𝑡ℎ 𝑆𝑜𝑛𝑖𝑐 𝐴𝑐𝑡𝑠. 𝑆𝑝𝑎𝑡𝑖𝑎𝑙 𝑑𝑒𝑠𝑖𝑔𝑛 𝑖𝑠 𝑏𝑦 𝐵𝑢𝑟𝑒𝑎𝑢 𝐿𝐴𝐷𝐴.

On show in the current exhibition 𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠, artist Inas Halabi's 𝑊𝑒 𝐻𝑎𝑣𝑒 𝐴𝑙𝑤𝑎𝑦𝑠 𝐾𝑛𝑜𝑤𝑛 𝑡ℎ𝑒 𝑊𝑖𝑛𝑑’𝑠 𝐷𝑖𝑟𝑒𝑐𝑡𝑖𝑜𝑛 examines the material effects of radiation, both physically and metaphorically. Drawing on research by local nuclear physicist Khalil Thabayneh, the work investigates the potential burial of nuclear waste and the presence of man-made radiation in the Hebron District of Palestine.

By placing red plastic filter sheets in front of the camera lens in various locations, different shades of red are generated to make visible the levels of radioactivity. The isotope Cesium 137, invisible but deadly, can be seen as a synecdoche for a more ungraspable invisibility – the systemic networks of power and control in the region.

𝐅𝐢𝐧𝐢𝐬𝐬𝐚𝐠𝐞: 𝐒𝐮𝐧𝐝𝐚𝐲 𝟏𝟕 𝐌𝐚𝐲, 𝟏𝟓:𝟎𝟎-𝟏𝟖:𝟎𝟎
At the exhibition's finissage, Halabi will discuss her practice’s concern with social and political forms of power and the impact of overlooked and suppressed histories. Alongside curator Fabienne Rachmadiev and researcher Samia Henni, she will reflect on the enduring yet often unseen impacts of nuclear activity across different contexts.

▪️Sign up → 🔗 IN BIO

This event is in English. Admission is free, pay what you can.

𝐋𝐨𝐜𝐚𝐭𝐢𝐨𝐧
Framer Framed
Oranje-Vrijstaatkade 71
Amsterdam

▬▬▬

@inas.halabi @fabidanslemetro @sonicacts

𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 𝑖𝑠 𝑐𝑢𝑟𝑎𝑡𝑒𝑑 𝑏𝑦 𝐹𝑎𝑏𝑖𝑒𝑛𝑛𝑒 𝑅𝑎𝑐ℎ𝑚𝑎𝑑𝑖𝑒𝑣, 𝑐𝑜𝑚𝑚𝑖𝑠𝑠𝑖𝑜𝑛𝑒𝑑 𝑎𝑛𝑑 𝑝𝑟𝑜𝑑𝑢𝑐𝑒𝑑 𝑏𝑦 𝐹𝑟𝑎𝑚𝑒𝑟 𝐹𝑟𝑎𝑚𝑒𝑑, 𝑎𝑛𝑑 𝑝𝑟𝑒𝑠𝑒𝑛𝑡𝑒𝑑 𝑖𝑛 𝑝𝑎𝑟𝑡𝑛𝑒𝑟𝑠ℎ𝑖𝑝 𝑤𝑖𝑡ℎ 𝑆𝑜𝑛𝑖𝑐 𝐴𝑐𝑡𝑠. 𝑆𝑝𝑎𝑡𝑖𝑎𝑙 𝑑𝑒𝑠𝑖𝑔𝑛 𝑖𝑠 𝑏𝑦 𝐵𝑢𝑟𝑒𝑎𝑢 𝐿𝐴𝐷𝐴.

On show in the current exhibition 𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠, artist Inas Halabi's 𝑊𝑒 𝐻𝑎𝑣𝑒 𝐴𝑙𝑤𝑎𝑦𝑠 𝐾𝑛𝑜𝑤𝑛 𝑡ℎ𝑒 𝑊𝑖𝑛𝑑’𝑠 𝐷𝑖𝑟𝑒𝑐𝑡𝑖𝑜𝑛 examines the material effects of radiation, both physically and metaphorically. Drawing on research by local nuclear physicist Khalil Thabayneh, the work investigates the potential burial of nuclear waste and the presence of man-made radiation in the Hebron District of Palestine.

By placing red plastic filter sheets in front of the camera lens in various locations, different shades of red are generated to make visible the levels of radioactivity. The isotope Cesium 137, invisible but deadly, can be seen as a synecdoche for a more ungraspable invisibility – the systemic networks of power and control in the region.

𝐅𝐢𝐧𝐢𝐬𝐬𝐚𝐠𝐞: 𝐒𝐮𝐧𝐝𝐚𝐲 𝟏𝟕 𝐌𝐚𝐲, 𝟏𝟓:𝟎𝟎-𝟏𝟖:𝟎𝟎
At the exhibition's finissage, Halabi will discuss her practice’s concern with social and political forms of power and the impact of overlooked and suppressed histories. Alongside curator Fabienne Rachmadiev and researcher Samia Henni, she will reflect on the enduring yet often unseen impacts of nuclear activity across different contexts.

▪️Sign up → 🔗 IN BIO

This event is in English. Admission is free, pay what you can.

𝐋𝐨𝐜𝐚𝐭𝐢𝐨𝐧
Framer Framed
Oranje-Vrijstaatkade 71
Amsterdam

▬▬▬

@inas.halabi @fabidanslemetro @sonicacts

𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 𝑖𝑠 𝑐𝑢𝑟𝑎𝑡𝑒𝑑 𝑏𝑦 𝐹𝑎𝑏𝑖𝑒𝑛𝑛𝑒 𝑅𝑎𝑐ℎ𝑚𝑎𝑑𝑖𝑒𝑣, 𝑐𝑜𝑚𝑚𝑖𝑠𝑠𝑖𝑜𝑛𝑒𝑑 𝑎𝑛𝑑 𝑝𝑟𝑜𝑑𝑢𝑐𝑒𝑑 𝑏𝑦 𝐹𝑟𝑎𝑚𝑒𝑟 𝐹𝑟𝑎𝑚𝑒𝑑, 𝑎𝑛𝑑 𝑝𝑟𝑒𝑠𝑒𝑛𝑡𝑒𝑑 𝑖𝑛 𝑝𝑎𝑟𝑡𝑛𝑒𝑟𝑠ℎ𝑖𝑝 𝑤𝑖𝑡ℎ 𝑆𝑜𝑛𝑖𝑐 𝐴𝑐𝑡𝑠. 𝑆𝑝𝑎𝑡𝑖𝑎𝑙 𝑑𝑒𝑠𝑖𝑔𝑛 𝑖𝑠 𝑏𝑦 𝐵𝑢𝑟𝑒𝑎𝑢 𝐿𝐴𝐷𝐴.

As part of the 𝑁𝑜𝑡𝑒𝑠 𝑡𝑜 𝑂𝑡ℎ𝑒𝑟 𝐹𝑢𝑡𝑢𝑟𝑒𝑠 book fair on 23 May, Framer Framed welcomes collectives, artists, activists, and independent publishers contributing to a vibrant culture of subversive publishing.

Throughout the day, collaborators and publishers will host a series of presentations. At 14:00, HumDrumPress presents an Open Book session with artist Mirjam Linschooten and researcher Skye Maule-O’Brien, who will share their upcoming publication, 𝐵𝑟𝑒𝑎𝑡ℎ & 𝐵𝑟𝑒𝑒𝑧𝑒: 𝑇𝑜𝑛𝑔𝑢𝑒𝑙𝑒𝑠𝑠 𝑊ℎ𝑖𝑠𝑝𝑒𝑟𝑠 𝑜𝑓 𝑡ℎ𝑒 𝑊𝑖𝑛𝑑.

The project explores wind, wind technology, and the Dutch colonial footprint in Barbados and Curaçao, asking what the wind can reveal about historical power relations and the enduring structures of colonialism.

Visitors are invited to engage directly with the publication: to access, interact with, annotate, question, critique and contribute to the collaborative publishing process.

▪️Sign up → 🔗 IN BIO (places are limited!)

𝐋𝐨𝐜𝐚𝐭𝐢𝐨𝐧
Framer Framed
Oranje-Vrijstaatkade 71
Amsterdam

▬▬▬

@humdrum_press @mirjamlinschooten @intimate_pedagogy

The exhibition 𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 is soon coming to a close. Over its course, we've reflected on the afterlives of nuclear infrastructures and how they continue to shape landscapes, bodies and collective memory across different geographies. We’re grateful to all the artists, researchers, contributors and visitors who have been part of it and who helped shape the conversations!

To close the programme we invite you on 𝐒𝐮𝐧𝐝𝐚𝐲 𝟏𝟕 𝐌𝐚𝐲 for the finissage, where a conversation between curator 𝐅𝐚𝐛𝐢𝐞𝐧𝐧𝐞 𝐑𝐚𝐜𝐡𝐦𝐚𝐝𝐢𝐞𝐯, artist 𝐈𝐧𝐚𝐬 𝐇𝐚𝐥𝐚𝐛𝐢 and researcher 𝐒𝐚𝐦𝐢𝐚 𝐇𝐞𝐧𝐧𝐢 addresses the invisible yet lasting impacts of nuclear activity across different contexts. The discussion draws from Halabi’s work 𝑊𝑒 𝐻𝑎𝑣𝑒 𝐴𝑙𝑤𝑎𝑦𝑠 𝐾𝑛𝑜𝑤𝑛 𝑡ℎ𝑒 𝑊𝑖𝑛𝑑’𝑠 𝐷𝑖𝑟𝑒𝑐𝑡𝑖𝑜𝑛 (2019-20), which probes the possible burial of nuclear waste and the presence of man-made radiation in the Hebron District in Palestine, as well as Henni’s research into French nuclear colonialism in the Algerian Sahara, which formed the basis of the exhibition 𝑃𝑒𝑟𝑓𝑜𝑟𝑚𝑖𝑛𝑔 𝐶𝑜𝑙𝑜𝑛𝑖𝑎𝑙 𝑇𝑜𝑥𝑖𝑐𝑖𝑡𝑦 in 2023.

The finissage also offers a final opportunity to experience 𝐛𝐮𝐮𝐥𝐛𝐮𝐮𝐥’s 𝑇ℎ𝑒 𝐵𝑢𝑟𝑖𝑎𝑙 𝑜𝑓 𝑎 𝐵𝑟𝑜𝑤𝑛 𝐺𝑜𝑜𝑠𝑒 – a performance blending ritual, voice and distorted soundscape, reflecting on grief, rage and generational care shaped by long-term ecological damage.

𝐏𝐫𝐨𝐠𝐫𝐚𝐦𝐦𝐞
15:00 Conversation with Inas Halabi, Samia Henni and Fabienne Rachmadiev
17:00 Performance by buulbuul
17:30 Drinks

▪️Sign up → 🔗 IN BIO

This event is in English. Admission is free, pay what you can.

▬▬▬

@fabidanslemetro @inas.halabi @samia.henni @haider.mkht @yourfriendkas @sonicacts

𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 𝑖𝑠 𝑐𝑢𝑟𝑎𝑡𝑒𝑑 𝑏𝑦 𝐹𝑎𝑏𝑖𝑒𝑛𝑛𝑒 𝑅𝑎𝑐ℎ𝑚𝑎𝑑𝑖𝑒𝑣, 𝑐𝑜𝑚𝑚𝑖𝑠𝑠𝑖𝑜𝑛𝑒𝑑 𝑎𝑛𝑑 𝑝𝑟𝑜𝑑𝑢𝑐𝑒𝑑 𝑏𝑦 𝐹𝑟𝑎𝑚𝑒𝑟 𝐹𝑟𝑎𝑚𝑒𝑑, 𝑎𝑛𝑑 𝑝𝑟𝑒𝑠𝑒𝑛𝑡𝑒𝑑 𝑖𝑛 𝑝𝑎𝑟𝑡𝑛𝑒𝑟𝑠ℎ𝑖𝑝 𝑤𝑖𝑡ℎ 𝑆𝑜𝑛𝑖𝑐 𝐴𝑐𝑡𝑠. 𝑆𝑝𝑎𝑡𝑖𝑎𝑙 𝑑𝑒𝑠𝑖𝑔𝑛 𝑖𝑠 𝑏𝑦 𝐵𝑢𝑟𝑒𝑎𝑢 𝐿𝐴𝐷𝐴.

📸 © Pieter Kers & Marlise Steeman

The exhibition 𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 is soon coming to a close. Over its course, we've reflected on the afterlives of nuclear infrastructures and how they continue to shape landscapes, bodies and collective memory across different geographies. We’re grateful to all the artists, researchers, contributors and visitors who have been part of it and who helped shape the conversations!

To close the programme we invite you on 𝐒𝐮𝐧𝐝𝐚𝐲 𝟏𝟕 𝐌𝐚𝐲 for the finissage, where a conversation between curator 𝐅𝐚𝐛𝐢𝐞𝐧𝐧𝐞 𝐑𝐚𝐜𝐡𝐦𝐚𝐝𝐢𝐞𝐯, artist 𝐈𝐧𝐚𝐬 𝐇𝐚𝐥𝐚𝐛𝐢 and researcher 𝐒𝐚𝐦𝐢𝐚 𝐇𝐞𝐧𝐧𝐢 addresses the invisible yet lasting impacts of nuclear activity across different contexts. The discussion draws from Halabi’s work 𝑊𝑒 𝐻𝑎𝑣𝑒 𝐴𝑙𝑤𝑎𝑦𝑠 𝐾𝑛𝑜𝑤𝑛 𝑡ℎ𝑒 𝑊𝑖𝑛𝑑’𝑠 𝐷𝑖𝑟𝑒𝑐𝑡𝑖𝑜𝑛 (2019-20), which probes the possible burial of nuclear waste and the presence of man-made radiation in the Hebron District in Palestine, as well as Henni’s research into French nuclear colonialism in the Algerian Sahara, which formed the basis of the exhibition 𝑃𝑒𝑟𝑓𝑜𝑟𝑚𝑖𝑛𝑔 𝐶𝑜𝑙𝑜𝑛𝑖𝑎𝑙 𝑇𝑜𝑥𝑖𝑐𝑖𝑡𝑦 in 2023.

The finissage also offers a final opportunity to experience 𝐛𝐮𝐮𝐥𝐛𝐮𝐮𝐥’s 𝑇ℎ𝑒 𝐵𝑢𝑟𝑖𝑎𝑙 𝑜𝑓 𝑎 𝐵𝑟𝑜𝑤𝑛 𝐺𝑜𝑜𝑠𝑒 – a performance blending ritual, voice and distorted soundscape, reflecting on grief, rage and generational care shaped by long-term ecological damage.

𝐏𝐫𝐨𝐠𝐫𝐚𝐦𝐦𝐞
15:00 Conversation with Inas Halabi, Samia Henni and Fabienne Rachmadiev
17:00 Performance by buulbuul
17:30 Drinks

▪️Sign up → 🔗 IN BIO

This event is in English. Admission is free, pay what you can.

▬▬▬

@fabidanslemetro @inas.halabi @samia.henni @haider.mkht @yourfriendkas @sonicacts

𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 𝑖𝑠 𝑐𝑢𝑟𝑎𝑡𝑒𝑑 𝑏𝑦 𝐹𝑎𝑏𝑖𝑒𝑛𝑛𝑒 𝑅𝑎𝑐ℎ𝑚𝑎𝑑𝑖𝑒𝑣, 𝑐𝑜𝑚𝑚𝑖𝑠𝑠𝑖𝑜𝑛𝑒𝑑 𝑎𝑛𝑑 𝑝𝑟𝑜𝑑𝑢𝑐𝑒𝑑 𝑏𝑦 𝐹𝑟𝑎𝑚𝑒𝑟 𝐹𝑟𝑎𝑚𝑒𝑑, 𝑎𝑛𝑑 𝑝𝑟𝑒𝑠𝑒𝑛𝑡𝑒𝑑 𝑖𝑛 𝑝𝑎𝑟𝑡𝑛𝑒𝑟𝑠ℎ𝑖𝑝 𝑤𝑖𝑡ℎ 𝑆𝑜𝑛𝑖𝑐 𝐴𝑐𝑡𝑠. 𝑆𝑝𝑎𝑡𝑖𝑎𝑙 𝑑𝑒𝑠𝑖𝑔𝑛 𝑖𝑠 𝑏𝑦 𝐵𝑢𝑟𝑒𝑎𝑢 𝐿𝐴𝐷𝐴.

📸 © Pieter Kers & Marlise Steeman

The exhibition 𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 is soon coming to a close. Over its course, we've reflected on the afterlives of nuclear infrastructures and how they continue to shape landscapes, bodies and collective memory across different geographies. We’re grateful to all the artists, researchers, contributors and visitors who have been part of it and who helped shape the conversations!

To close the programme we invite you on 𝐒𝐮𝐧𝐝𝐚𝐲 𝟏𝟕 𝐌𝐚𝐲 for the finissage, where a conversation between curator 𝐅𝐚𝐛𝐢𝐞𝐧𝐧𝐞 𝐑𝐚𝐜𝐡𝐦𝐚𝐝𝐢𝐞𝐯, artist 𝐈𝐧𝐚𝐬 𝐇𝐚𝐥𝐚𝐛𝐢 and researcher 𝐒𝐚𝐦𝐢𝐚 𝐇𝐞𝐧𝐧𝐢 addresses the invisible yet lasting impacts of nuclear activity across different contexts. The discussion draws from Halabi’s work 𝑊𝑒 𝐻𝑎𝑣𝑒 𝐴𝑙𝑤𝑎𝑦𝑠 𝐾𝑛𝑜𝑤𝑛 𝑡ℎ𝑒 𝑊𝑖𝑛𝑑’𝑠 𝐷𝑖𝑟𝑒𝑐𝑡𝑖𝑜𝑛 (2019-20), which probes the possible burial of nuclear waste and the presence of man-made radiation in the Hebron District in Palestine, as well as Henni’s research into French nuclear colonialism in the Algerian Sahara, which formed the basis of the exhibition 𝑃𝑒𝑟𝑓𝑜𝑟𝑚𝑖𝑛𝑔 𝐶𝑜𝑙𝑜𝑛𝑖𝑎𝑙 𝑇𝑜𝑥𝑖𝑐𝑖𝑡𝑦 in 2023.

The finissage also offers a final opportunity to experience 𝐛𝐮𝐮𝐥𝐛𝐮𝐮𝐥’s 𝑇ℎ𝑒 𝐵𝑢𝑟𝑖𝑎𝑙 𝑜𝑓 𝑎 𝐵𝑟𝑜𝑤𝑛 𝐺𝑜𝑜𝑠𝑒 – a performance blending ritual, voice and distorted soundscape, reflecting on grief, rage and generational care shaped by long-term ecological damage.

𝐏𝐫𝐨𝐠𝐫𝐚𝐦𝐦𝐞
15:00 Conversation with Inas Halabi, Samia Henni and Fabienne Rachmadiev
17:00 Performance by buulbuul
17:30 Drinks

▪️Sign up → 🔗 IN BIO

This event is in English. Admission is free, pay what you can.

▬▬▬

@fabidanslemetro @inas.halabi @samia.henni @haider.mkht @yourfriendkas @sonicacts

𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 𝑖𝑠 𝑐𝑢𝑟𝑎𝑡𝑒𝑑 𝑏𝑦 𝐹𝑎𝑏𝑖𝑒𝑛𝑛𝑒 𝑅𝑎𝑐ℎ𝑚𝑎𝑑𝑖𝑒𝑣, 𝑐𝑜𝑚𝑚𝑖𝑠𝑠𝑖𝑜𝑛𝑒𝑑 𝑎𝑛𝑑 𝑝𝑟𝑜𝑑𝑢𝑐𝑒𝑑 𝑏𝑦 𝐹𝑟𝑎𝑚𝑒𝑟 𝐹𝑟𝑎𝑚𝑒𝑑, 𝑎𝑛𝑑 𝑝𝑟𝑒𝑠𝑒𝑛𝑡𝑒𝑑 𝑖𝑛 𝑝𝑎𝑟𝑡𝑛𝑒𝑟𝑠ℎ𝑖𝑝 𝑤𝑖𝑡ℎ 𝑆𝑜𝑛𝑖𝑐 𝐴𝑐𝑡𝑠. 𝑆𝑝𝑎𝑡𝑖𝑎𝑙 𝑑𝑒𝑠𝑖𝑔𝑛 𝑖𝑠 𝑏𝑦 𝐵𝑢𝑟𝑒𝑎𝑢 𝐿𝐴𝐷𝐴.

📸 © Pieter Kers & Marlise Steeman

The exhibition 𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 is soon coming to a close. Over its course, we've reflected on the afterlives of nuclear infrastructures and how they continue to shape landscapes, bodies and collective memory across different geographies. We’re grateful to all the artists, researchers, contributors and visitors who have been part of it and who helped shape the conversations!

To close the programme we invite you on 𝐒𝐮𝐧𝐝𝐚𝐲 𝟏𝟕 𝐌𝐚𝐲 for the finissage, where a conversation between curator 𝐅𝐚𝐛𝐢𝐞𝐧𝐧𝐞 𝐑𝐚𝐜𝐡𝐦𝐚𝐝𝐢𝐞𝐯, artist 𝐈𝐧𝐚𝐬 𝐇𝐚𝐥𝐚𝐛𝐢 and researcher 𝐒𝐚𝐦𝐢𝐚 𝐇𝐞𝐧𝐧𝐢 addresses the invisible yet lasting impacts of nuclear activity across different contexts. The discussion draws from Halabi’s work 𝑊𝑒 𝐻𝑎𝑣𝑒 𝐴𝑙𝑤𝑎𝑦𝑠 𝐾𝑛𝑜𝑤𝑛 𝑡ℎ𝑒 𝑊𝑖𝑛𝑑’𝑠 𝐷𝑖𝑟𝑒𝑐𝑡𝑖𝑜𝑛 (2019-20), which probes the possible burial of nuclear waste and the presence of man-made radiation in the Hebron District in Palestine, as well as Henni’s research into French nuclear colonialism in the Algerian Sahara, which formed the basis of the exhibition 𝑃𝑒𝑟𝑓𝑜𝑟𝑚𝑖𝑛𝑔 𝐶𝑜𝑙𝑜𝑛𝑖𝑎𝑙 𝑇𝑜𝑥𝑖𝑐𝑖𝑡𝑦 in 2023.

The finissage also offers a final opportunity to experience 𝐛𝐮𝐮𝐥𝐛𝐮𝐮𝐥’s 𝑇ℎ𝑒 𝐵𝑢𝑟𝑖𝑎𝑙 𝑜𝑓 𝑎 𝐵𝑟𝑜𝑤𝑛 𝐺𝑜𝑜𝑠𝑒 – a performance blending ritual, voice and distorted soundscape, reflecting on grief, rage and generational care shaped by long-term ecological damage.

𝐏𝐫𝐨𝐠𝐫𝐚𝐦𝐦𝐞
15:00 Conversation with Inas Halabi, Samia Henni and Fabienne Rachmadiev
17:00 Performance by buulbuul
17:30 Drinks

▪️Sign up → 🔗 IN BIO

This event is in English. Admission is free, pay what you can.

▬▬▬

@fabidanslemetro @inas.halabi @samia.henni @haider.mkht @yourfriendkas @sonicacts

𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 𝑖𝑠 𝑐𝑢𝑟𝑎𝑡𝑒𝑑 𝑏𝑦 𝐹𝑎𝑏𝑖𝑒𝑛𝑛𝑒 𝑅𝑎𝑐ℎ𝑚𝑎𝑑𝑖𝑒𝑣, 𝑐𝑜𝑚𝑚𝑖𝑠𝑠𝑖𝑜𝑛𝑒𝑑 𝑎𝑛𝑑 𝑝𝑟𝑜𝑑𝑢𝑐𝑒𝑑 𝑏𝑦 𝐹𝑟𝑎𝑚𝑒𝑟 𝐹𝑟𝑎𝑚𝑒𝑑, 𝑎𝑛𝑑 𝑝𝑟𝑒𝑠𝑒𝑛𝑡𝑒𝑑 𝑖𝑛 𝑝𝑎𝑟𝑡𝑛𝑒𝑟𝑠ℎ𝑖𝑝 𝑤𝑖𝑡ℎ 𝑆𝑜𝑛𝑖𝑐 𝐴𝑐𝑡𝑠. 𝑆𝑝𝑎𝑡𝑖𝑎𝑙 𝑑𝑒𝑠𝑖𝑔𝑛 𝑖𝑠 𝑏𝑦 𝐵𝑢𝑟𝑒𝑎𝑢 𝐿𝐴𝐷𝐴.

📸 © Pieter Kers & Marlise Steeman

The exhibition 𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 is soon coming to a close. Over its course, we've reflected on the afterlives of nuclear infrastructures and how they continue to shape landscapes, bodies and collective memory across different geographies. We’re grateful to all the artists, researchers, contributors and visitors who have been part of it and who helped shape the conversations!

To close the programme we invite you on 𝐒𝐮𝐧𝐝𝐚𝐲 𝟏𝟕 𝐌𝐚𝐲 for the finissage, where a conversation between curator 𝐅𝐚𝐛𝐢𝐞𝐧𝐧𝐞 𝐑𝐚𝐜𝐡𝐦𝐚𝐝𝐢𝐞𝐯, artist 𝐈𝐧𝐚𝐬 𝐇𝐚𝐥𝐚𝐛𝐢 and researcher 𝐒𝐚𝐦𝐢𝐚 𝐇𝐞𝐧𝐧𝐢 addresses the invisible yet lasting impacts of nuclear activity across different contexts. The discussion draws from Halabi’s work 𝑊𝑒 𝐻𝑎𝑣𝑒 𝐴𝑙𝑤𝑎𝑦𝑠 𝐾𝑛𝑜𝑤𝑛 𝑡ℎ𝑒 𝑊𝑖𝑛𝑑’𝑠 𝐷𝑖𝑟𝑒𝑐𝑡𝑖𝑜𝑛 (2019-20), which probes the possible burial of nuclear waste and the presence of man-made radiation in the Hebron District in Palestine, as well as Henni’s research into French nuclear colonialism in the Algerian Sahara, which formed the basis of the exhibition 𝑃𝑒𝑟𝑓𝑜𝑟𝑚𝑖𝑛𝑔 𝐶𝑜𝑙𝑜𝑛𝑖𝑎𝑙 𝑇𝑜𝑥𝑖𝑐𝑖𝑡𝑦 in 2023.

The finissage also offers a final opportunity to experience 𝐛𝐮𝐮𝐥𝐛𝐮𝐮𝐥’s 𝑇ℎ𝑒 𝐵𝑢𝑟𝑖𝑎𝑙 𝑜𝑓 𝑎 𝐵𝑟𝑜𝑤𝑛 𝐺𝑜𝑜𝑠𝑒 – a performance blending ritual, voice and distorted soundscape, reflecting on grief, rage and generational care shaped by long-term ecological damage.

𝐏𝐫𝐨𝐠𝐫𝐚𝐦𝐦𝐞
15:00 Conversation with Inas Halabi, Samia Henni and Fabienne Rachmadiev
17:00 Performance by buulbuul
17:30 Drinks

▪️Sign up → 🔗 IN BIO

This event is in English. Admission is free, pay what you can.

▬▬▬

@fabidanslemetro @inas.halabi @samia.henni @haider.mkht @yourfriendkas @sonicacts

𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 𝑖𝑠 𝑐𝑢𝑟𝑎𝑡𝑒𝑑 𝑏𝑦 𝐹𝑎𝑏𝑖𝑒𝑛𝑛𝑒 𝑅𝑎𝑐ℎ𝑚𝑎𝑑𝑖𝑒𝑣, 𝑐𝑜𝑚𝑚𝑖𝑠𝑠𝑖𝑜𝑛𝑒𝑑 𝑎𝑛𝑑 𝑝𝑟𝑜𝑑𝑢𝑐𝑒𝑑 𝑏𝑦 𝐹𝑟𝑎𝑚𝑒𝑟 𝐹𝑟𝑎𝑚𝑒𝑑, 𝑎𝑛𝑑 𝑝𝑟𝑒𝑠𝑒𝑛𝑡𝑒𝑑 𝑖𝑛 𝑝𝑎𝑟𝑡𝑛𝑒𝑟𝑠ℎ𝑖𝑝 𝑤𝑖𝑡ℎ 𝑆𝑜𝑛𝑖𝑐 𝐴𝑐𝑡𝑠. 𝑆𝑝𝑎𝑡𝑖𝑎𝑙 𝑑𝑒𝑠𝑖𝑔𝑛 𝑖𝑠 𝑏𝑦 𝐵𝑢𝑟𝑒𝑎𝑢 𝐿𝐴𝐷𝐴.

📸 © Pieter Kers & Marlise Steeman

The exhibition 𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 is soon coming to a close. Over its course, we've reflected on the afterlives of nuclear infrastructures and how they continue to shape landscapes, bodies and collective memory across different geographies. We’re grateful to all the artists, researchers, contributors and visitors who have been part of it and who helped shape the conversations!

To close the programme we invite you on 𝐒𝐮𝐧𝐝𝐚𝐲 𝟏𝟕 𝐌𝐚𝐲 for the finissage, where a conversation between curator 𝐅𝐚𝐛𝐢𝐞𝐧𝐧𝐞 𝐑𝐚𝐜𝐡𝐦𝐚𝐝𝐢𝐞𝐯, artist 𝐈𝐧𝐚𝐬 𝐇𝐚𝐥𝐚𝐛𝐢 and researcher 𝐒𝐚𝐦𝐢𝐚 𝐇𝐞𝐧𝐧𝐢 addresses the invisible yet lasting impacts of nuclear activity across different contexts. The discussion draws from Halabi’s work 𝑊𝑒 𝐻𝑎𝑣𝑒 𝐴𝑙𝑤𝑎𝑦𝑠 𝐾𝑛𝑜𝑤𝑛 𝑡ℎ𝑒 𝑊𝑖𝑛𝑑’𝑠 𝐷𝑖𝑟𝑒𝑐𝑡𝑖𝑜𝑛 (2019-20), which probes the possible burial of nuclear waste and the presence of man-made radiation in the Hebron District in Palestine, as well as Henni’s research into French nuclear colonialism in the Algerian Sahara, which formed the basis of the exhibition 𝑃𝑒𝑟𝑓𝑜𝑟𝑚𝑖𝑛𝑔 𝐶𝑜𝑙𝑜𝑛𝑖𝑎𝑙 𝑇𝑜𝑥𝑖𝑐𝑖𝑡𝑦 in 2023.

The finissage also offers a final opportunity to experience 𝐛𝐮𝐮𝐥𝐛𝐮𝐮𝐥’s 𝑇ℎ𝑒 𝐵𝑢𝑟𝑖𝑎𝑙 𝑜𝑓 𝑎 𝐵𝑟𝑜𝑤𝑛 𝐺𝑜𝑜𝑠𝑒 – a performance blending ritual, voice and distorted soundscape, reflecting on grief, rage and generational care shaped by long-term ecological damage.

𝐏𝐫𝐨𝐠𝐫𝐚𝐦𝐦𝐞
15:00 Conversation with Inas Halabi, Samia Henni and Fabienne Rachmadiev
17:00 Performance by buulbuul
17:30 Drinks

▪️Sign up → 🔗 IN BIO

This event is in English. Admission is free, pay what you can.

▬▬▬

@fabidanslemetro @inas.halabi @samia.henni @haider.mkht @yourfriendkas @sonicacts

𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 𝑖𝑠 𝑐𝑢𝑟𝑎𝑡𝑒𝑑 𝑏𝑦 𝐹𝑎𝑏𝑖𝑒𝑛𝑛𝑒 𝑅𝑎𝑐ℎ𝑚𝑎𝑑𝑖𝑒𝑣, 𝑐𝑜𝑚𝑚𝑖𝑠𝑠𝑖𝑜𝑛𝑒𝑑 𝑎𝑛𝑑 𝑝𝑟𝑜𝑑𝑢𝑐𝑒𝑑 𝑏𝑦 𝐹𝑟𝑎𝑚𝑒𝑟 𝐹𝑟𝑎𝑚𝑒𝑑, 𝑎𝑛𝑑 𝑝𝑟𝑒𝑠𝑒𝑛𝑡𝑒𝑑 𝑖𝑛 𝑝𝑎𝑟𝑡𝑛𝑒𝑟𝑠ℎ𝑖𝑝 𝑤𝑖𝑡ℎ 𝑆𝑜𝑛𝑖𝑐 𝐴𝑐𝑡𝑠. 𝑆𝑝𝑎𝑡𝑖𝑎𝑙 𝑑𝑒𝑠𝑖𝑔𝑛 𝑖𝑠 𝑏𝑦 𝐵𝑢𝑟𝑒𝑎𝑢 𝐿𝐴𝐷𝐴.

📸 © Pieter Kers & Marlise Steeman

Have you read the introduction to 'Companions', the latest issue of Errant Journal? This ninth issue is co-edited by Katia Krupennikova and Irene de Craen and in this Editor's Note, they discuss why Errant is looking at colonization beyond Western Europe as the imperial core and the further possibilities of relationality this presents.

This introduction is freely available to read on our website, and this issue is available to purchase digitally or in print. You can also support Errant with a subscription for unlimited access to all our published texts online. Follow the link in our bio.

Image: Alibay Bapanov, Kokbory (She-Wolf), 2010, wool, weaving, 156 x 175 cm. Collection @Almatymuseumofarts

Have you read the introduction to 'Companions', the latest issue of Errant Journal? This ninth issue is co-edited by Katia Krupennikova and Irene de Craen and in this Editor's Note, they discuss why Errant is looking at colonization beyond Western Europe as the imperial core and the further possibilities of relationality this presents.

This introduction is freely available to read on our website, and this issue is available to purchase digitally or in print. You can also support Errant with a subscription for unlimited access to all our published texts online. Follow the link in our bio.

Image: Alibay Bapanov, Kokbory (She-Wolf), 2010, wool, weaving, 156 x 175 cm. Collection @Almatymuseumofarts

Have you read the introduction to 'Companions', the latest issue of Errant Journal? This ninth issue is co-edited by Katia Krupennikova and Irene de Craen and in this Editor's Note, they discuss why Errant is looking at colonization beyond Western Europe as the imperial core and the further possibilities of relationality this presents.

This introduction is freely available to read on our website, and this issue is available to purchase digitally or in print. You can also support Errant with a subscription for unlimited access to all our published texts online. Follow the link in our bio.

Image: Alibay Bapanov, Kokbory (She-Wolf), 2010, wool, weaving, 156 x 175 cm. Collection @Almatymuseumofarts

Have you read the introduction to 'Companions', the latest issue of Errant Journal? This ninth issue is co-edited by Katia Krupennikova and Irene de Craen and in this Editor's Note, they discuss why Errant is looking at colonization beyond Western Europe as the imperial core and the further possibilities of relationality this presents.

This introduction is freely available to read on our website, and this issue is available to purchase digitally or in print. You can also support Errant with a subscription for unlimited access to all our published texts online. Follow the link in our bio.

Image: Alibay Bapanov, Kokbory (She-Wolf), 2010, wool, weaving, 156 x 175 cm. Collection @Almatymuseumofarts

Have you read the introduction to 'Companions', the latest issue of Errant Journal? This ninth issue is co-edited by Katia Krupennikova and Irene de Craen and in this Editor's Note, they discuss why Errant is looking at colonization beyond Western Europe as the imperial core and the further possibilities of relationality this presents.

This introduction is freely available to read on our website, and this issue is available to purchase digitally or in print. You can also support Errant with a subscription for unlimited access to all our published texts online. Follow the link in our bio.

Image: Alibay Bapanov, Kokbory (She-Wolf), 2010, wool, weaving, 156 x 175 cm. Collection @Almatymuseumofarts

Have you read the introduction to 'Companions', the latest issue of Errant Journal? This ninth issue is co-edited by Katia Krupennikova and Irene de Craen and in this Editor's Note, they discuss why Errant is looking at colonization beyond Western Europe as the imperial core and the further possibilities of relationality this presents.

This introduction is freely available to read on our website, and this issue is available to purchase digitally or in print. You can also support Errant with a subscription for unlimited access to all our published texts online. Follow the link in our bio.

Image: Alibay Bapanov, Kokbory (She-Wolf), 2010, wool, weaving, 156 x 175 cm. Collection @Almatymuseumofarts

Have you read the introduction to 'Companions', the latest issue of Errant Journal? This ninth issue is co-edited by Katia Krupennikova and Irene de Craen and in this Editor's Note, they discuss why Errant is looking at colonization beyond Western Europe as the imperial core and the further possibilities of relationality this presents.

This introduction is freely available to read on our website, and this issue is available to purchase digitally or in print. You can also support Errant with a subscription for unlimited access to all our published texts online. Follow the link in our bio.

Image: Alibay Bapanov, Kokbory (She-Wolf), 2010, wool, weaving, 156 x 175 cm. Collection @Almatymuseumofarts

Have you read the introduction to 'Companions', the latest issue of Errant Journal? This ninth issue is co-edited by Katia Krupennikova and Irene de Craen and in this Editor's Note, they discuss why Errant is looking at colonization beyond Western Europe as the imperial core and the further possibilities of relationality this presents.

This introduction is freely available to read on our website, and this issue is available to purchase digitally or in print. You can also support Errant with a subscription for unlimited access to all our published texts online. Follow the link in our bio.

Image: Alibay Bapanov, Kokbory (She-Wolf), 2010, wool, weaving, 156 x 175 cm. Collection @Almatymuseumofarts

Have you read the introduction to 'Companions', the latest issue of Errant Journal? This ninth issue is co-edited by Katia Krupennikova and Irene de Craen and in this Editor's Note, they discuss why Errant is looking at colonization beyond Western Europe as the imperial core and the further possibilities of relationality this presents.

This introduction is freely available to read on our website, and this issue is available to purchase digitally or in print. You can also support Errant with a subscription for unlimited access to all our published texts online. Follow the link in our bio.

Image: Alibay Bapanov, Kokbory (She-Wolf), 2010, wool, weaving, 156 x 175 cm. Collection @Almatymuseumofarts

Update: deze bijeenkomst gaat vandaag helaas niet door vanwege de weervoorspelling

Aanstaande 𝐳𝐨𝐧𝐝𝐚𝐠 𝟑 𝐦𝐞𝐢 opent de nieuwe gemeenschapstuin ‘Molentuin’ 🍀

Na een jaar van dromen, ontwerpen en verbouwen is de Molentuin voor de deur van de oude locatie Werkplaats Molenwijk eindelijk klaar. Als onderdeel van hun residentie organiseert kunstenaarscollectief 4Siblings de opening als Hıdırellez-viering. Tussen 𝟏𝟓.𝟎𝟎 𝐞𝐧 𝟏𝟕.𝟎𝟎 𝐮𝐮𝐫 is iedereen welkom. De tandoor wordt opgestookt voor verse broodjes, er worden voordrachten gehouden over Hıdırellez en de natuur en er is een mogelijkheid om bomen en takken te versieren.

De Molentuin is een 𝑐𝑜𝑚𝑚𝑜𝑛𝑠-project van Framer Framed Noord, waarin bewonersinitiatieven rond het gezamenlijk zorgen voor de omgeving worden ondersteund. Tuinieren heeft een verbindende relatie tussen andere bewoners, het lichaam en de omgeving. Met deze tuin wordt bijgedragen aan een nieuwe sociale plek in de wijk, maar ook aan de verbetering van de biodiversiteit van de buurt. Bewoners dragen zorg over de tuin en er wordt een jaarlijkse 'Artist in Garden Residence' georganiseerd, waarin gereageerd wordt op verhalen en situaties die zich afspelen in de tuin.

𝐋𝐨𝐜𝐚𝐭𝐢𝐞
Molenaarsweg 3
Amsterdam

▪️De opening van de Molentuin vindt plaats op de oude locatie van Werkplaats Molenwijk: het rode gebouwtje tussen Paltrok en Handmolen.
▪️Benieuwd naar de nieuwe locatie? Je bent van harte welkom bij 𝐅𝐫𝐚𝐦𝐞𝐫 𝐅𝐫𝐚𝐦𝐞𝐝 𝐍𝐨𝐨𝐫𝐝 op Zuideinde 369.

▬▬▬

@four.siblings.collective @anne.htzgs

📸 Ontwerp door Anne Hitzges

⏳ LAST CALL: 3 DAYS LEFT TO APPLY!⁠
⁠
If you are an artist or cultural practitioner addressing legacies of injustice, this is your final reminder to submit your application for the 𝘛𝘳𝘢𝘯𝘴𝘪𝘵𝘪𝘰𝘯𝘢𝘭 𝘑𝘶𝘴𝘵𝘪𝘤𝘦 𝘸𝘪𝘵𝘩 𝘈𝘳𝘵𝘪𝘴𝘵𝘴 (𝘛𝘑𝘈) 𝘎𝘳𝘢𝘯𝘵.⁠
⁠
We’re offering 6 practitioners: ⁠
~ A 6-month fellowship⁠
~ A €10,000 grant ⁠
~ To join AFIELD’s international network of 140+ cultural changemakers⁠
~ A 7-day residency at @framerframed in Amsterdam ⁠
~ A published feature in @arts_of_the_working_class⁠
⁠
Deadline: 02 May 2026 (23:59 CET)⁠
🔗 Full guidelines & link to apply in bio. ⁠
⁠
~~~~~~~~⁠
⁠
𝘛𝘩𝘦 𝘛𝘑𝘈 𝘎𝘳𝘢𝘯𝘵 𝘪𝘴 𝘢 𝘫𝘰𝘪𝘯𝘵 𝘱𝘳𝘰𝘨𝘳𝘢𝘮 𝘣𝘺 𝘈𝘍𝘐𝘌𝘓𝘋, 𝘈𝘳𝘵𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘞𝘰𝘳𝘬𝘪𝘯𝘨 𝘊𝘭𝘢𝘴𝘴, 𝘢𝘯𝘥 𝘍𝘳𝘢𝘮𝘦𝘳 𝘍𝘳𝘢𝘮𝘦𝘥. 𝘐𝘵 𝘪𝘴 𝘤𝘰-𝘧𝘶𝘯𝘥𝘦𝘥 𝘣𝘺 𝘵𝘩𝘦 𝘌𝘶𝘳𝘰𝘱𝘦𝘢𝘯 𝘜𝘯𝘪𝘰𝘯.

⏳ LAST CALL: 3 DAYS LEFT TO APPLY!⁠
⁠
If you are an artist or cultural practitioner addressing legacies of injustice, this is your final reminder to submit your application for the 𝘛𝘳𝘢𝘯𝘴𝘪𝘵𝘪𝘰𝘯𝘢𝘭 𝘑𝘶𝘴𝘵𝘪𝘤𝘦 𝘸𝘪𝘵𝘩 𝘈𝘳𝘵𝘪𝘴𝘵𝘴 (𝘛𝘑𝘈) 𝘎𝘳𝘢𝘯𝘵.⁠
⁠
We’re offering 6 practitioners: ⁠
~ A 6-month fellowship⁠
~ A €10,000 grant ⁠
~ To join AFIELD’s international network of 140+ cultural changemakers⁠
~ A 7-day residency at @framerframed in Amsterdam ⁠
~ A published feature in @arts_of_the_working_class⁠
⁠
Deadline: 02 May 2026 (23:59 CET)⁠
🔗 Full guidelines & link to apply in bio. ⁠
⁠
~~~~~~~~⁠
⁠
𝘛𝘩𝘦 𝘛𝘑𝘈 𝘎𝘳𝘢𝘯𝘵 𝘪𝘴 𝘢 𝘫𝘰𝘪𝘯𝘵 𝘱𝘳𝘰𝘨𝘳𝘢𝘮 𝘣𝘺 𝘈𝘍𝘐𝘌𝘓𝘋, 𝘈𝘳𝘵𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘞𝘰𝘳𝘬𝘪𝘯𝘨 𝘊𝘭𝘢𝘴𝘴, 𝘢𝘯𝘥 𝘍𝘳𝘢𝘮𝘦𝘳 𝘍𝘳𝘢𝘮𝘦𝘥. 𝘐𝘵 𝘪𝘴 𝘤𝘰-𝘧𝘶𝘯𝘥𝘦𝘥 𝘣𝘺 𝘵𝘩𝘦 𝘌𝘶𝘳𝘰𝘱𝘦𝘢𝘯 𝘜𝘯𝘪𝘰𝘯.

NEW PODCAST: follow the link in our bio to listen.

This episode is a recording of the talk given by Keto Gorgadze at the launch of Errant Journal's ninth issue titled Companions at Framer Framed in Amsterdam on 18 April 2026.

Keto’s talk begins from the premise that Russia is both a cold and a continental empire. Sharing the same landmass with its colonies has long obscured its status as a colonial power. Since Russia’s territory isn’t divided by an ocean, it was difficult for this imperial power ‘to point to the place on the map where civilization ended and backwardness began.’ Instead, climate became the domain where such borders were drawn, enabling the violence of dispossession through climate determinism. The subtropics of the Caucasus therefore, embodied a climatic ‘otherness’ where imperial officials modelled their extractivism on Dutch and British colonies in Southeast Asia. In this sense, the framework of tropicality—the construction of regions as tropical through racialized accounts of Indigenous peoples, as was also the case in the Caucasus—can be a lens for rewriting histories of tropical violence, interweaving trans-imperial histories of domination and resistance.

Errant Journal issue no. 9, Companions in which Keto’s text appears is available on our website.

Image: Paul Franken, Oriental cityscape (Tbilisi in the Caucasus), 1853.

Part of the current exhibition 𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠: 𝐼𝑟𝑟𝑎𝑑𝑖𝑎𝑡𝑒𝑑 𝐼𝑚𝑎𝑔𝑖𝑛𝑎𝑡𝑖𝑜𝑛𝑠 𝑎𝑛𝑑 𝐴𝑛𝑡𝑖-𝑁𝑢𝑐𝑙𝑒𝑎𝑟 𝑆𝑜𝑙𝑖𝑑𝑎𝑟𝑖𝑡𝑖𝑒𝑠, 𝐀𝐥𝐦𝐚𝐠𝐮𝐥 𝐌𝐞𝐧𝐥𝐢𝐛𝐚𝐲𝐞𝐯𝐚's video installation 𝐾𝑢𝑟𝑐ℎ𝑎𝑡𝑜𝑣 22 was shot in the former heartland of the Soviet ‘Iron Curtain’, a secret territory in northwest Kazakhstan known by multiple code names, including Kurchatov 22 and Semipalatinsk-21.

Combining historical facts, staged footage and contemporary eyewitness interviews, the work explores land as a carrier of a collective memory of the ‘colonial experiment’ and totalitarian experience. 𝐾𝑢𝑟𝑐ℎ𝑎𝑡𝑜𝑣 22 critically addresses Soviet modernity, opening a forum on human-environmental issue and shifting identities in Central Asia.

▪️Save the date for the finissage of 𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 on 17 May
▪️Admission is free, pay what you can

▬▬▬

𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 traces the intertwined histories of nuclear infrastructures, colonialism and resistance. The exhibition is curated by Fabienne Rachmadiev, commissioned by Framer Framed and presented in partnership with Sonic Acts.

@fabidanslemetro @almagul.menlibayeva @sonicacts

📸𝐾𝑢𝑟𝑐ℎ𝑎𝑡𝑜𝑣 22 (2013) by Almagul Menlibayeva. Photo: 1-3 © Maarten Nauw. 4 © Pieter Kers

Part of the current exhibition 𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠: 𝐼𝑟𝑟𝑎𝑑𝑖𝑎𝑡𝑒𝑑 𝐼𝑚𝑎𝑔𝑖𝑛𝑎𝑡𝑖𝑜𝑛𝑠 𝑎𝑛𝑑 𝐴𝑛𝑡𝑖-𝑁𝑢𝑐𝑙𝑒𝑎𝑟 𝑆𝑜𝑙𝑖𝑑𝑎𝑟𝑖𝑡𝑖𝑒𝑠, 𝐀𝐥𝐦𝐚𝐠𝐮𝐥 𝐌𝐞𝐧𝐥𝐢𝐛𝐚𝐲𝐞𝐯𝐚's video installation 𝐾𝑢𝑟𝑐ℎ𝑎𝑡𝑜𝑣 22 was shot in the former heartland of the Soviet ‘Iron Curtain’, a secret territory in northwest Kazakhstan known by multiple code names, including Kurchatov 22 and Semipalatinsk-21.

Combining historical facts, staged footage and contemporary eyewitness interviews, the work explores land as a carrier of a collective memory of the ‘colonial experiment’ and totalitarian experience. 𝐾𝑢𝑟𝑐ℎ𝑎𝑡𝑜𝑣 22 critically addresses Soviet modernity, opening a forum on human-environmental issue and shifting identities in Central Asia.

▪️Save the date for the finissage of 𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 on 17 May
▪️Admission is free, pay what you can

▬▬▬

𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 traces the intertwined histories of nuclear infrastructures, colonialism and resistance. The exhibition is curated by Fabienne Rachmadiev, commissioned by Framer Framed and presented in partnership with Sonic Acts.

@fabidanslemetro @almagul.menlibayeva @sonicacts

📸𝐾𝑢𝑟𝑐ℎ𝑎𝑡𝑜𝑣 22 (2013) by Almagul Menlibayeva. Photo: 1-3 © Maarten Nauw. 4 © Pieter Kers

Part of the current exhibition 𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠: 𝐼𝑟𝑟𝑎𝑑𝑖𝑎𝑡𝑒𝑑 𝐼𝑚𝑎𝑔𝑖𝑛𝑎𝑡𝑖𝑜𝑛𝑠 𝑎𝑛𝑑 𝐴𝑛𝑡𝑖-𝑁𝑢𝑐𝑙𝑒𝑎𝑟 𝑆𝑜𝑙𝑖𝑑𝑎𝑟𝑖𝑡𝑖𝑒𝑠, 𝐀𝐥𝐦𝐚𝐠𝐮𝐥 𝐌𝐞𝐧𝐥𝐢𝐛𝐚𝐲𝐞𝐯𝐚's video installation 𝐾𝑢𝑟𝑐ℎ𝑎𝑡𝑜𝑣 22 was shot in the former heartland of the Soviet ‘Iron Curtain’, a secret territory in northwest Kazakhstan known by multiple code names, including Kurchatov 22 and Semipalatinsk-21.

Combining historical facts, staged footage and contemporary eyewitness interviews, the work explores land as a carrier of a collective memory of the ‘colonial experiment’ and totalitarian experience. 𝐾𝑢𝑟𝑐ℎ𝑎𝑡𝑜𝑣 22 critically addresses Soviet modernity, opening a forum on human-environmental issue and shifting identities in Central Asia.

▪️Save the date for the finissage of 𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 on 17 May
▪️Admission is free, pay what you can

▬▬▬

𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 traces the intertwined histories of nuclear infrastructures, colonialism and resistance. The exhibition is curated by Fabienne Rachmadiev, commissioned by Framer Framed and presented in partnership with Sonic Acts.

@fabidanslemetro @almagul.menlibayeva @sonicacts

📸𝐾𝑢𝑟𝑐ℎ𝑎𝑡𝑜𝑣 22 (2013) by Almagul Menlibayeva. Photo: 1-3 © Maarten Nauw. 4 © Pieter Kers

Part of the current exhibition 𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠: 𝐼𝑟𝑟𝑎𝑑𝑖𝑎𝑡𝑒𝑑 𝐼𝑚𝑎𝑔𝑖𝑛𝑎𝑡𝑖𝑜𝑛𝑠 𝑎𝑛𝑑 𝐴𝑛𝑡𝑖-𝑁𝑢𝑐𝑙𝑒𝑎𝑟 𝑆𝑜𝑙𝑖𝑑𝑎𝑟𝑖𝑡𝑖𝑒𝑠, 𝐀𝐥𝐦𝐚𝐠𝐮𝐥 𝐌𝐞𝐧𝐥𝐢𝐛𝐚𝐲𝐞𝐯𝐚's video installation 𝐾𝑢𝑟𝑐ℎ𝑎𝑡𝑜𝑣 22 was shot in the former heartland of the Soviet ‘Iron Curtain’, a secret territory in northwest Kazakhstan known by multiple code names, including Kurchatov 22 and Semipalatinsk-21.

Combining historical facts, staged footage and contemporary eyewitness interviews, the work explores land as a carrier of a collective memory of the ‘colonial experiment’ and totalitarian experience. 𝐾𝑢𝑟𝑐ℎ𝑎𝑡𝑜𝑣 22 critically addresses Soviet modernity, opening a forum on human-environmental issue and shifting identities in Central Asia.

▪️Save the date for the finissage of 𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 on 17 May
▪️Admission is free, pay what you can

▬▬▬

𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝐹𝑖𝑟𝑒𝑠 traces the intertwined histories of nuclear infrastructures, colonialism and resistance. The exhibition is curated by Fabienne Rachmadiev, commissioned by Framer Framed and presented in partnership with Sonic Acts.

@fabidanslemetro @almagul.menlibayeva @sonicacts

📸𝐾𝑢𝑟𝑐ℎ𝑎𝑡𝑜𝑣 22 (2013) by Almagul Menlibayeva. Photo: 1-3 © Maarten Nauw. 4 © Pieter Kers

De hedendaagse beeldende kunst- en creatieve industrie (BKCI) in Amsterdam staat onder grote druk. Hoewel BKCI-instellingen internationaal hoog aangeschreven staan en onmisbaar zijn voor de stad, worden de omstandigheden steeds moeilijker. Uit recent onderzoek in opdracht van de Gemeente Amsterdam en MOKER blijken er achter de schermen grote financiële problemen en onzekerheden te spelen.

In het Noodplan Beeldende Kunst en Creatieve Industrie roepen wij namens MOKER op tot structurele extra investeringen van € 4,4 miljoen per jaar en beleidsaanpassingen door de Gemeente Amsterdam, de Amsterdamse Kunstraad en het Amsterdams Fonds voor de Kunst. Dit is noodzakelijk om de sector te verstevigen, een stevige positie te geven binnen het stedelijk kunstbestel en perspectief te bieden op ontwikkeling en groei.

🔗 Voor meer informatie en om het noodplan te bekijken, ga naar de link in bio.

____

The contemporary visual arts and creative industries (BKCI) in Amsterdam are under severe pressure. Although BKCI institutions are highly regarded internationally and indispensable to the city, conditions are becoming increasingly difficult. Recent research commissioned by the Municipality of Amsterdam and MOKER reveals that there are significant financial problems and uncertainties behind the scenes.

In the Visual Arts and Creative Industries Emergency Plan, we call, on behalf of MOKER, for structural additional investment of €4.4 million per year and policy adjustments by the Municipality of Amsterdam, the Amsterdam Arts Council and the Amsterdam Fund for the Arts. This is necessary to strengthen the sector, secure its position within the local arts ecosystem, and offer prospects for development and growth.

🔗 For more information and to view the emergency plan, please visit the link in the bio.