Kunst is Lang ~ Patricia Kaersenhout

De beeldende kunst is als een altijd doorstomende trein die zich een weg baant langs stromingen, niches, uitspattingen en extravaganza. Het tempo van afwisselingen en opkomende kunstenaars is hoog, de zendtijd voor hedendaagse kunst bescheiden. In de uitzending van Kunst is lang zoekt Luuk Heezen samen met mister Motley de verdieping op met een hedendaagse kunstenaar. Een gesprek over het werk, over vreemde ideeën, over de vooroordelen binnen kunst, en over het (doodnormale) dagelijkse leven van de kunstenaar.

Patricia Kaersenhout is een Nederlandse visueel kunstenaar en cultureel activist. Ze studeerde sociale wetenschappen aan Amstelhorn Amsterdam en beeldende kunst aan de Gerrit Rietveld Academie. Haar werk onderzoekt sociale onzichtbaarheid als gevolg van de Afrikaanse Diaspora. Ook richt ze zich op het kolonialisme in relatie tot haar eigen opgroeien binnen een West-Europese cultuur. De rode draad in haar werk is een onderzoek naar de Afrikaanse Diaspora, die ze in verband brengt met de geschiedenis van de slavernij, racisme, feminisme en seksualiteit.

Gast: Patricia Kaersenhout
Streamer: Elsemarijn Bruys
Kunstenaarsvideo: ZaZaZoZo

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Blueprint For A Progressive US: A Dialogue With Noam Chomsky And Robert Pollin

1902, Philadelphia, Pennsylvania, USA — Child labor strike in Philadelphia, Pennsylvania. Photograph 1902 — Image by © Bettmann/CORBIS

This is the first part of a wide-ranging interview with world-renowned public intellectuals Noam Chomsky and Robert Pollin. The next installment will appear on October 24.

Not long after taking office, it became evident that Donald Trump had engaged in fraudulent populism during his campaign. His promise to “Make America Great Again” has been exposed as a lie, as the Trump administration has been busy extending US military power, exacerbating inequality, reverting to the old era of unregulated banking practices, pushing for more fuel fossil drilling and stripping environmental regulations.

In the Trump era, what would an authentically populist, progressive political agenda look like? What would a progressive US look like with regard to jobs, the environment, finance capital and the standard of living? What would it look like in terms of education and health care, justice and equality? In an exclusive interview with C.J. Polychroniou for Truthout, world-renowned public intellectuals Noam Chomsky and Robert Pollin tackle these issues. Noam Chomsky is professor emeritus of linguistics at MIT and laureate professor in the department of linguistics at the University of Arizona. Robert Pollin is distinguished professor of economics and co-director of the Political Economy Research Institute at the University of Massachusetts at Amherst. Their views lay the foundation for a visionary — yet eminently realistic — progressive social and economic order for the United States.

C.J. Polychroniou: Noam, the rise of Donald Trump has unleashed a rather unprecedented wave of social resistance in the US. Do you think the conditions are ripe for a mass progressive/socialist movement in this country that can begin to reframe the major policy issues affecting the majority of people, and perhaps even challenge and potentially change the fundamental structures of the US political economy?

Noam Chomsky: There is indeed a wave of social resistance, more significant than in the recent past — though I’d hesitate about calling it “unprecedented.” Nevertheless, we cannot overlook the fact that in the domain of policy formation and implementation, the right is ascendant, in fact some of its harshest and most destructive elements [are rising].

Nor should we overlook a crucial fact that has been evident for some time: The figure in charge, though often ridiculed, has succeeded brilliantly in his goal of occupying media and public attention while mobilizing a very loyal popular base — and one with sinister features, sometimes smacking of totalitarianism, including adoration of The Leader. That goes beyond the core of loyal Trump supporters…. [A majority of Republicans] favor shutting down or at least fining the press if it presents “biased” or “false news” — terms that mean information rejected by The Leader, so we learn from polls showing that by overwhelming margins, Republicans not only believe Trump far more than the hated mainstream media, but even far more than their own media organ, the extreme right Fox news. And half of Republicans would back postponing the 2020 election if Trump calls for it.

It is also worth bearing in mind that among a significant part of his worshipful base, Trump is regarded as a “wavering moderate” who cannot be fully trusted to hold fast to the true faith of fierce White Christian identity politics. A recent illustration is the primary victory of the incredible Roy Moore in Alabama despite Trump’s opposition. (“Mr. President, I love you but you are wrong,” as the banners read). The victory of this Bible-thumping fanatic has led senior party strategists to [conclude] “that the conservative base now loathes its leaders in Washington the same way it detested President Barack Obama” — referring to leaders who are already so far right that one needs a powerful telescope to locate them at the outer fringe of any tolerable political spectrum.

The potential power of the ultra-right attack on the far right is [illustrated] by the fact that Moore spent about $200,000, in contrast to his Trump-backed opponent, the merely far-right Luther Strange, who received more than $10 million from the national GOP and other far-right sources. The ultra-right is spearheaded by Steve Bannon, one of the most dangerous figures in the shiver-inducing array that has come to the fore in recent years. It has the huge financial support of the Mercer family, along with ample media outreach through Breitbart news, talk radio and the rest of the toxic bubble in which loyalists trap themselves.

In the most powerful state in history, the current Republican Party is ominous enough. What is not far on the horizon is even more menacing.
Read more

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Studio Meritis MaKOM

Foto: Ilya Rabinovich

Studio Meritis MaKOM (Joseph Semah and Linda Bouws) is aware of the urgent need to add new perspectives to the dominant Western traditional way of thinking in our globalizing world.
The Western world has been predominately manifested by iconic works of art, literature, film, theatre, philosophy, often related to traditional Christianity.
But culture is not static, it is always changing: today’s culture is tomorrow’s heritage.

Seen from this perspective, it is necessary to take a critical look at how Western culture and art are presented and why. It is also important to recognize and accept sources and traditions of other cultures.
We will be searching for new structures and a new conceptual vision which will better reflect the reality of our pluralistic society. This will require thinking out of the box, whereby the artist’s scrutiny on the creative processes in the West will play an important role.

Mission
Studio Meritis MaKOM is committed to investigate and encourage different views on the current artistic research into Western culture. New research into the existing way of thinking will lead to new and maybe forgotten information, representations and interpretations. We will develop these, analyse them and provide them with a podium.
Our aim is to stimulate a collective commitment and to make a contribution to the debate on Western art and culture by also including non-Western art and culture.

Studio Meritis MaKOM reflects and provides context for art and culture.

Studio Meritis MaKOM focuses on
– Current global developments and discussions on Western art
– Contextualization of Western art
– The significance, relevance and representation of Western art, culture and politics in a complex world of interculturalism.

© Metropool Foundation International Art Projects

www.metropool-projects.com
www.josephsemah.nl

Contact: lindabouws@gmail.com
Mob: +31(0) 620132195

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On Friendship / (Collateral Damage) II – The Guardians of the Door ~ Summary

Joseph Semah – MaKOM The doubling of the House 1979 – 2017 cellenbetonblokken 200 x 200 x 200 cm Photo: Ilya Rabinovich

Artist Joseph Sassoon Semah (1948) was born in Bagdad, where his grandfather Hacham Sassoon Kadoori (1885-1971) was Chief Rabbi of the Babylonian Jews. In 1950 he was ‘relocated’ with his parents to the State of Israel. In the mid-70’s Semah decided to leave Israel, speaking in this context of his self-chosen exile. He lived and worked in London, Berlin and Paris; but has been settled in Amsterdam since 1981, where he has positioned himself as ‘the Guest’. By reading in his native language, Hebrew, he has detected a shortage of Jewish awareness. Jewish significance receives too little attention in western history of art and Semah feels the urgent need to append this and to fill the ’empty page’.

During his long-term project On Friendship / (Collateral Damage) in which he collaborates with Metropool International Art Projects / Studio Meritis MaKOM (Linda Bouws), the main question is how western art and culture are presented and why. In Part 1 (2015) Semah searches for the specific Jewish implications in Kazimir Malevich’s The Black Square and Barnett Newman’s work, and also critically researches the claim by a growing group of people that refer to the Jewish-Christian origin of European culture.
Through his lawyer Bob Vink, Semah makes contact with Beatrix Ruf, director of the Stedelijk Museum Amsterdam and asks her to account for the ’empty page’ in art history on behalf of the art world.
In On Friendship / (Collateral Damage) II – The Guardians of the Door, Luther and 500 years of Reformation are the central subject: with art, performances, artistic interventions, round-table conversations, lectures and a book publication. There will be critical reflection on the image of Luther as a ‘superstar’ and on his importance then and now. The Nieuwe Kerk, The Joods Historisch Museum, the Stedelijk Museum and the Goethe-Institut are all partners in this project.
The starting point was Semah nailing his answer to Luther on the door of the Nieuwe Kerk, preceded by a ‘procession’ coming from the Dam square.

The Answer is this:
And in the background we still see the unsolvable dilemma of the Guest. On the one hand he is forced to be silent about his highly personal way of reading, while on the oter hand he uses Christian tactics to be noticed without being discovered.
The Guest in ourselves is primarily an artist with words, for words form the way he has learned to conceal his name, hide his doubt and suppress his fear by publicly criticising his wish to participate within the western paradigm. Please note, the nostalgia for a lost paradise, will pursue the Guest from the start and during his whole active life in exile.

Signed by JOSEPH SASSOON SEMAH

Publicatie
Linda Bouws & Joseph Semah (red.) – On Friendship / (Collateral Damage) II – The Guardians of the Door
Reflectie vanuit de kunst en cultuur op 500 jaar reformatie en Maarten Luther, met en rond Joseph Sassoon Semah.

Auteurs:
Joseph Semah – Pretext en The Guardians of the Door: how to explain hare hunting to a dead German artist
Emile Schrijver – Flarden van associaties: een soort brief aan een vriend
Arie Hartog – Over het onderzoek van Joseph Semah: begrijpen wie aan tafel zit
Paul Mosterd – In situ: kunstenaar en kerk
Linda Bouws – Wanneer kunst religie raakt
Egbert Dommering – Luther, Reuchlin en Joseph Semah
Jan Voss – “That’s too bad even for an ice cream parlour”
Maarten Doorman Luther als open zenuw van de Duitse geschiedenis
Felix Villanueva – Todnauberg (Re)Visited. Over de ontmoeting tussen de dichter en denker
Rick Vercauteren – Next Year in Jerusalem
Margriet Schavemaker – Dwingende voetnoten: Joseph Semah en het Stedelijk Museum<

Te bestellen via: Stichting Metropool Internationale Kunstprojecten, 35 € + 5 €    verzendkosten, rek.nr. INGB 0006928168 o.v.v. “On Friendship”, naam en adres

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Stedelijk Museum Amsterdam ~ Joseph Sassoon Semah 20 – 22 oktober 2017

Joseph Sassoon Semah zit drie dagen in zijn huis van celbetonblokken waarin hij voorleest uit zijn dertigjarige onderzoek naar de ‘lege’ pagina in de kunstgeschiedenis. In een performance programma met vijf performances op 20, 21 en 22 oktober in het Stedelijk Museum wil hij laten zien dat het museum ook een plek is waar verschillende interpretaties en visies op kunst tot hun recht komen.

De performances vinden plaats in samenhang met het vrijdagavond programma Stedelijk Statements: Joseph Sassoon Semah. Dit programma is de derde editie van een reeks programma’s onder de noemer Stedelijk Statements, waarvoor een expert, kunstenaar, criticus of cultureel ondernemer een avond samenstelt in het Stedelijk Museum. De organisator van het programma krijgt de gelegenheid haar of zijn visie op beeldende kunst en vormgeving toe te lichten aan de hand van nieuw, artistiek en/of wetenschappelijk onderzoek, dat wordt gepresenteerd in een avondprogramma met lezingen, discussies, performances en filmvertoningen. In deze editie bespreekt beeldend kunstenaar Joseph Sassoon Semah zijn standpunt dat de Joodse betekenislaag in de beeldende kunsten te weinig aandacht krijgt en te vaak wordt genegeerd in de hedendaagse kunstgeschiedenis.

MaKOM: The doubling of the House
20, 21, 22 oktober 2017, za-zo 11.00 – 18.00, Stedelijk Museum
Met: Jom Semah – de fietser / Peter Baren – de performer / Baruch Abraham – de vertolker van Semahs moederstaal

Reflectie op Joseph Beuys: How to explain hare hunting to a dead German artist, met Anastasia Kozlova (violiste)
20 oktober 2017, vrijdag 21.00 u, Stedelijk Museum

Reflectie op Marcel Duchamp: OFaNIM and Bicycle Wheels are Reconciled
21 oktober, zaterdag 14.00 uur, Stedelijk Museum

Reflectie op Barnett Newman: The Fragmented TaLIT
Read Full Text: Genesis 9 (1) …”I have set my rainbow in the clouds, and it will be the sign of the covenant between me and the earth”
21 oktober, zaterdag 16.00 uur, Stedelijk Museum

Reflectie op Kazimir Malevich: Het naakte onverheelde vierkant EIRUV ChaTzeROT (Amalgamation of Courts)
22 oktober, zondag 14.00 uur, Stedelijk Museum

Reflectie op Piet Mondriaan: Piet Mondriaan and the perfect typography of the Guest
22 oktober,  zondag 16.00 uur, Stedelijk Museum

Per performance participeren verschillende vrienden.

Meer over Joseph Sassoon Semah
Kunstenaar Joseph Sassoon Semah (1948) is geboren in Bagdad, waar zijn grootvader Hacham Sassoon Kadoori (1885-1971) de president van de Babylonische joden was. Met zijn ouders is hij in 1950 ’verplaatst’ naar de staat Israël. Midden jaren zeventig besluit Semah Israël te verlaten. Hij spreekt in dit verband van een zelfgekozen ballingschap. Hij woont en werkt in Londen, Berlijn en Parijs; sinds 1981 heeft hij zich in Amsterdam gevestigd. Hij heeft zichzelf gepositioneerd als ‘de Gast’. Door te lezen in zijn moedertaal, het Hebreeuws, signaleerde Semah een tekort aan joodse kennis binnen de kunstgeschiedenis.

Credits
Stichting Metropool Internationale Kunstprojecten / Studio Meritis MaKOM

Met dank aan: De Nieuwe Kerk, het Joods Historisch Museum, het Stedelijk Museum, het Goethe-Institut, Fonds Kerk en Wereld, Gravin van Bylandt Stichting, Haëlla Stichting, Kattendijke/Drucker Stichting, Mondriaan Stichting, De Vrijzinnige Fondsen, Rijwielhandel Oud-West en alle medewerkers aan On Friendship / (Collateral Damage) II – The Guardians of the Door.

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Hurricanes Make The Need To Dismantle Colonial Economics In The Caribbean Increasingly Urgent

Sint-Maarten, 6 september 2017
Photo: Wikimedia Commons

Hurricanes have always been a part of life in the Caribbean. The destruction they cause and inhabitants’ subsequent recovery have been observed throughout human history. What is alarming now, however, is the apparent increased frequency and intensity of hurricanes due to climate change.

For the Caribbean territories, the climate change challenges are even more severe than they are for most other places around the globe because they have an impact on the entire coastal and terrestrial ecosystems. The already poor state of the Caribbean marine environment restricts the ability of habitats such as seagrass meadows and coral reefs to recover from the effects of severe storms. Poor water quality and over-fishing, for example, promotes the overgrowth of algae, preventing recovery. With repeated hurricanes occurring over time periods that are insufficient for recovery to occur, this will only get worse.

Moreover, climate change can be expected to have negative effects on the tourism and hospitality industry. According to the Caribbean Planning for Adaptation to Global Climate Change Project, virtually all the Caribbean territories are highly vulnerable to climate changes and can expect to experience a “linear increases in the number of storms and hurricanes … loss of land from rising sea level … increased susceptibility of coastal infrastructure … negative impacts in the tourism sector.”

In this context, the severity of hurricanes Irma and Maria, which caused catastrophic destruction, should be a wake-up call, even though the devastation was not equally distributed across the Caribbean, and it will be far more challenging for some countries than others to recover from their tragic situations.

Caribbean policy makers need a fundamental shift in how marine environments are protected to enable long-term sustainability for the food and income they provide. Many locations in the Caribbean — for example, Puerto Rico — have ineffective marine protection rules and so destructive practices continue unchecked, meaning that when a disaster does occur, the environment is unable to recover. Besides, previous hurricanes, cyclones and typhoons across the globe have shown the severe negative effects storms can have on the marine environment. Hurricane Irma — one of the strongest on record to hit the region — recently scoured the islands leaving catastrophic damage in its wake, even in Cuba, “a country that prides itself on disaster preparedness.”

And just as the Caribbean began to piece together the devastating and potentially long-term impacts of Irma, Hurricane Maria has now left another path of destruction. Puerto Rico, the British dependency of the Turks and Caicos, and many other Caribbean islands have suffered what have been described as “apocalyptic conditions.” More than 30 cruise ports were damaged by these two hurricanes.

Some of the most severely affected areas of the recent hurricanes in the Caribbean — Florida, Turks and Caicos, Cuba, the British Virgin Islands and Puerto Rico — all house extensive seagrass meadows. These shallow water marine habitats support valuable lobster fisheries, as well as shrimp, conch and finfish fisheries. Seagrass also stabilizes sediments and protects the white sand beaches that attract so many tourists to the region. The devastation of coastal environments, particularly seagrass meadows, can also result in long-term losses of the benefits that humans receive from them, such as fisheries support or coastal protection. Damage to these ecosystem services consequently impacts human well-being, because people can no longer rely on them for their livelihood and food supply. Read more

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