On Friendship / (Collateral Damage) IV – A Critical Project On Post-War Artist Joseph Beuys


Online soon – On Friendship / (Collateral Damage) IV – How to Explain Hare Hunting to a Dead German Artist  [The usefulness of continuous measurement of the distance between Nostalgia and Melancholia] (September 2021 – June 2022)

A critical project concerning post-war artist Joseph Beuys

Created by Joseph Sassoon Semah, curator Linda Bouws
© Stichting Metropool Internationale Kunstprojecten

Introduction
In 2021/22 the 100th anniversary of the birth of artist Joseph Beuys will be celebrated in Europe, among others with the special event ‘Beuys 2021. 100 years’. Twelve cities and twenty institutes in Noordrijn Westfalen in Germany will be organizing exhibitions, theatre and other activities to celebrate this anniversary. (see for more info https://beuys2021.de/en).

Joseph Heinrich Beuys (1921, Krefeld- 1986, Dusseldorf) is one of the most influential German post-war artists, who became particularly famous for his performances, installations, lectures and Fluxus concerts. But who was Beuys truly? Joseph Beuys mythologized his war history as a National Socialist and Germany’s problematic and post-traumatic past. After Word War ll Beuys transformed himself from perpetrator to victim. His service in the Luftwaffe did not offset his artistic practice. During this 100-years event none of these controversial aspects of Beuys’ work, values and ideas are focused upon. As part of this celebration it is high time to add a more critical eye on Beuys’ work and his relationship to Germany’s post-war history.

Project
On Friendship / (Collateral Damage) IV -How to Explain Hare Hunting to a Dead German Artist [The usefulness of continuous measurement of the distance between Nostalgia and Melancholia] (‘Hasenjagd’ is the code word for killing Jews during World War II) centers on Joseph Beuys and Joseph Sassoon Semah takes us on a journey of critical analysis of Beuys. Linda Bouws is the curator.

Art cannot be seen disengaged from society – which political, social and cultural implications does Joseph Beuys’ work show us?
How do work and politics relate in Beuys’ work, what is myth and what is reality? Did Beuys free art of power and financial gain or did he use his art with the purpose to forget or idealize his own war history and that of Germany? Does his transformation from perpetrator to victim fit into post-war Germany? How did Beuys use his ‘visual codes’, that have disappeared, and secret symbols? How must we interpret Beuys in this celebratory year 2021?

Joseph Sassoon Semah, has done extensive research into Joseph Beuys’ work, values and ideas and based on this research and texts he will analyse the deeper meaning of the (secret) symbols used by Joseph Beuys for ‘On Friendship / (Collateral Damage) IV- How to Explain Hare Hunting to a Dead German Artist [The usefulness of continuous measurement of the distance between Nostalgia and Melancholia]’. He will react to them using new monumental sculptures and a series of old and new drawings, performances, texts and meetings.

This project wants to raise public awareness about the missing information on Joseph Beuys. Information that has been disregarded during this celebratory year or has been evaded to avoid uncomfortable confrontations.
A new project about the reading of Beuys’ ‘shrouded’ art by the Jewish-Babylonian artist Joseph Sassoon Semah.

We will cooperate with among others with Gerard-Marcks-Haus Bremen, Goethe- Institut Amsterdam, Duitsland Instituut Amsterdam, Lumen Travo Gallery, Redstone Natuursteen & Projects, the Jewish Historical Museum and The Maastricht Institute for the Arts. After completion of the manifestation a complementary publication will be compiled.

Metropool International Art Projects
Contact: Linda Bouws
lindabouws@gmail.com
Mob +31(0) 620132195

The project is realised in part with the support of The Mondriaan Fund, the public fund for visual art and cultural heritage and Redstone Natuursteen & Projecten

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On Friendship /(Collateral Damage) IV – Goethe-Institut Amsterdam – September 2021 – June 2022


 

 

 

 

 

 

 

 

 

 

On Friendship / (Collateral Damage) – IV How to Explain Hare Hunting to a Dead German Artist [The usefulness of continuous measurement of the distance between Nostalgia and Melancholia] (September 2021 – June 2022)
A critical project concerning post-war artist Joseph Beuys, created by Joseph Sassoon Semah, curator Linda Bouws
© Stichting Metropool Internationale Kunstprojecten
(see https://rozenbergquarterly.com/on-friendship-collateral-damage-iv-a-critical-project-on-post-war-artists-joseph-beuys/

Goethe-Institut Amsterdam, Herengracht 470, Amsterdam
28 October 2021- 23 December 2021

Joseph Sassoon Semah – Exhibition ‘On Friendship / (Collateral Damage) IV‘
Monday-Friday, 10.00 – 17.00 p.m.
See for more information Goethe-Institut
https://www.goethe.de/ins/nl/nl/ver.cfm?event_id=22376581

Goethe-Institut Amsterdam, Herengracht 470, Amsterdam
28 October 2021, 20.00 pm, Performance and Meeting

Mati Shemoelof (Poet, Author, Editor, Journalist, Berlin & Joseph Sassoon Semah. (English)

Discussion about the creative activities of Joseph Beuys adhere to Eurocentric culture in general and to post-war German culture in particular. And yet, what will happen when two Iraqi Jews, i.e. Babylonian Jews – who live in two European capitals, Berlin and Amsterdam, respectively – decided to deconstruct Beuys's post war art production.
Could we give these two guests who became our host free speech,and should we listen to their desire to reclaim the Jewish Babylonian tradition from Joseph Beuys’ art?
Most of the research on Joseph Beuys artistic activity has been generated by theories concerning Eurocentric culture, values and experiences, however this time we have the opportunity to hear other voices, different reading that criticizes Beuys’ work.

See for more information & tickets Goethe-Institut https://www.goethe.de/ins/nl/nl/ver.cfm?event_id=22378810

Goethe-Institut Amsterdam, Herengracht 470, Amsterdam
11 November 2021, 20.00 pm, Performance and Meeting

Joseph Sassoon Semah & Rick Vercauteren
Joseph Sassoon Semah On Joseph Beuys and Wolf Vostell: Zwischen Dichtung und Wahrheit. (English)

Joseph Beuys manifested himself post-war as the new Messiah, as a healer, as a shaman for the Germans, to free himself as perpetrator and free the Germans of their guilt. Vostell embodies the victim and claims to embody the German guilt, to fill the vacuum that the genocide left behind. Wolf Vostell claimed since the early 1950's that his mother was a Sephardic Jew. However, it wasn’t until many years later that scholars began to inquire about Wolf’s ‘fabricated’ autobiography. Joseph Sassoon Semah and Rick Vercauteren will focus on the German artist duo Joseph Beuys and Wolf Vostell.

See for more information & tickets Goethe-Institut https://www.goethe.de/ins/nl/nl/ver.cfm?event_id=22379296

The project is realised in part with the support of Mondriaan Fund, the public fund for visual art and cultural heritage and Redstone Natuursteen & Projecten.

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On Friendship / (Collateral Damage) – IV: Lecture Roel Arkesteijn – Art and Ecology. Expanding the Concept of Joseph Beuys’ 7000 Eichen


On Friendship / (Collateral Damage) – IV How to Explain Hare Hunting to a Dead German Artist [The usefulness of continuous measurement of the distance between Nostalgia and Melancholia] (September 2021 – June 2022)
A critical project concerning post-war artist Joseph Beuys, created by Joseph Sassoon Semah, curator Linda Bouws
© Stichting Metropool Internationale Kunstprojecten more information http://rozenbergquarterly.com/category/on-friendship-collateral-damage/

Landgoed Nardinclant- Amsterdam Garden, Houtweg 25, 1251 CS Laren
24 October 2021, 14.00 p.m.
Lecture Roel Arkesteijn: Art and Ecology. Expanding the Concept of Joseph Beuys’ 7000 Eichen
Registration lindabouws@gmail.com – The event is restricted for 50 people; registration is first come, first serve.

Since the late 1960’s and early 1970’s, many visual artists developed artistic strategies to reclaim, re-purpose and redevelop territories which had been degraded by industrial use or otherwise inappropriate human activities; to foster ecological change; or to otherwise employ inventive methodologies to physically transform local ecologies. Whereas few of them are still widely recognized today, such as Robert Smithson and Joseph Beuys, many of these artists are still largely unknown to a wider visual art audience, or have nowadays even fallen into oblivion.

Departing from his practice as a museum curator who has showcased many of these ecologically and socio-politically engaged artists, in his lecture Roel Arkesteijn will contextualize and try to shed new light on Joseph Beuys’ project 7000 Eichen in Kassel, Germany. Introducing some of the Biblical, literary and visual artistic sources of 7000 Eichen, Arkesteijn will also reference Joseph Sassoon Semah’s interpretations of this German artist.
Roel Arkesteijn is a curator and author interested in forms of artistic engagement, art for social change, and activism. From 2008-2021, he has been working as a curator of contemporary art at Museum Het Domein in Sittard, the Netherlands, where he drew attention to artists who are engaged with social or political issues, are interested in gender problems, act as bridge builders between different cultures, or actively intervene in ecological situations. Within this framework, he has made exhibitions of, among others, Fernando Bryce, Sarah Vanagt, Mel Chin, Leon Golub, Roger Ballen, José Bedia, Jota Castro, Mark Dion, Eugenio Dittborn, Patricia Johanson, Brandon Ballengée, The Yes Men, Koen Vanmechelen, Betye Saar, Basia Irland, Nils Norman, Chéri Samba and Joseph Sassoon Semah.

Next activities:
Goethe-Institut Amsterdam, Herengracht 470, Amsterdam 28 October 2021- 23 December 2021
Joseph Sassoon Semah – Exhibition ‘On Friendship / (Collateral Damage) IV‘ Monday-Friday, 10.00 – 17.00 p.m.

Goethe-Institut Amsterdam, Herengracht 470, Amsterdam

28 October 2021, 20.00 pm, Performance and Meeting
Mati Shemoelof (Poet, Author, Editor, Journalist, Berlin & Joseph Sassoon Semah

Goethe-Institut Amsterdam, Herengracht 470, Amsterdam 11 November 2021, 20.00 pm, Performance and Meeting

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Goethe-Institut Amsterdam – Joseph Sassoon Semah – Exhibition ‘On Friendship / (Collateral Damage) IV‘


Goethe-Institut  Amsterdam , Herengracht 470, Amsterdam
28 October 2021- 30 December 2021, Joseph Sassoon Semah – Exhibition ‘On Friendship / (Collateral Damage) IV‘

28 October 2021, 20.00 p.m. Performance and Meeting

Mati Shemoelof (Poet, Author, Editor, Journalist, Berlin, https://mati-s.com) & Joseph Sassoon Semah (Amsterdam, http://www.josephsemah.nl), English

The discussion about the creative activities of Joseph Beuys adhere to Eurocentric culture in general and to post-war German culture in particular. And yet, what will happen when two Iraqi Jews, i.e. Babylonian Jews – who live in two European capitals, Berlin and Amsterdam, respectively – decided to deconstruct Beuys’s post war art production. Could we give these two guests who became our host free speech, and should we listen to their desire to reclaim the Jewish Babylonian tradition from Joseph Beuys’s art? Most of the research on Joseph Beuys artistic activity has been generated by theories concerning Eurocentric culture, values and experiences, however this time we have the opportunity to hear other voices, a different reading which comes from the East, i.e. from thousand years of Babylonian Jewish interpretive texts and thoughts that criticize Beuys’ work.

11 November 2021, 20.00 p.m. Perfomance and Meeting

Rick Vercauteren (publicist and art historian)  & Joseph Sassoon Semah
‘Joseph Beuys and Wolf Vostell: Zwischen Dichtung und Wahrheit‘

Joseph Beuys manifested himself post-war as the new Messiah, as a healer, as a shaman for the Germans, to free himself as perpetrator and free the Germans of their guilt. Vostell embodies the victim and claims to embody the German guilt, to fill the vacuum that the genocide left behind. Wolf Vostell claimed since the early 1950’s that his mother was a Sephardic Jew. However, it wasn’t until many years later that scholars began to inquire about Wolf’s ‘fabricated’ autobiography.

Joseph Sassoon Semah and Rick Vercauteren will focus on the German artist duo Joseph Beuys and Wolf Vostell.

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First Exhibition: On Friendship / (Collateral Damage) IV – Landgoed Nardinclant, Laren – Amsterdam Garden 13 September – 24 October 2021


Landgoed Nardinclan, Amsterdam Garden, Houtweg 25, 1251 CS Laren, 13 September – 24 October 2021
Exhibition, meeting, performance, guided tours 12.00-16.00 p.m. (registration is mandatory through https://amsterdamgarden.com/garden/art-route/)

At Landgoed Nardinclant our first activity of the new project ‘On Friendship / (Collateral Damage) IV- How to Explain Hare Hunting to a Dead German Artist [The usefulness of continuous measurement of the distance between Nostalgia and Melancholia]’, will take place.

At the first art exhibition ‘Nature and Aesthetics’, Redefined’, of the Landgoed Nardinclant which is more than hundred years old, the perspective will be the relationship between humans, nature and aesthetics. In his on site-specific shown art Joseph Sassoon Semah will analyze and criticize the deeper meaning of the (secret) symbols used by Joseph Beuys.

Joseph Sassoon Semah, amongst other with Reference presentation Joseph Beuys, ‘7000 Eichen’ (Documenta 7, Kassel, 1982).

Landgoed Nardinclan, Amsterdam Garden, Houtweg 25, 1251 CS Laren, 13 September – 24 October 2021

Joseph Beuys planted 7000 oaks through the city of Kassel, each paired with a stone. The project was seen as a gesture towards green urban renewal. In Landgoed Nardinclant Joseph Sassoon Semah planted an oak and stone from Jerusalem and shows the sources of this work.
Ref: Joshua 24(26) ‘And Joshua recorded these things in the Book of Law of God. Then he took a large stone and set it up there under the oak near the holy place of the Lord.’

A temporary MaKOM in MaKOM (place/house) will be shown, being a symbol for GaLUT (Exile). A place of shelter that connects refugees worldwide.

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Chicken Kebab Skewers


I love grilled skewers and it is no surprise that the rest of the world does as well!
From Indonesian Satay to Japanese Yakitori, grilled chicken is found almost everywhere in the world.
In this recipe, we shall explore the Iraqi version of a chicken kebab!

I will make sure that this dish is a kosher version – as we all know there are also amazing Greek and Turkish chicken skewers however, however they are combined with yogurt marinade!

Ingredients:

Chicken breast or thighs (The breast has less fat but the meat is less juicy than the thighs)
Skewers
Lemon
1 large red paprika
1 large yellow paprika
2 large onion
3 – 5 Garlic cloves
Sea salt
Black pepper
White pepper
Cumin powder
Cayenne / Chili powder
Curcuma powder
Paprika powder
Cinnamon powder
Olive oil
Parsley

Marinate the chicken:

First of all, we are going to make the marinade for the chicken –  pour a teaspoon of each of the following spices; Cumin, Curcuma,, Paprika, Black pepper, and Salt into a bowl –  then, add into the bowl a pinch of Cayenne pepper, a pinch of cinnamon, and finely chopped garlic, onion, and some parsley.
Pour a healthy amount of olive oil and lemon juice into the bowl, mix well all the ingredients, and set aside.
Now we are going to cut the chicken into bite-size chunks – then we should rinse the chicken under running water and make sure to remove the pieces of bone if one finds any.
Hereafter, make certain that the chicken chunks are dry, and put them into the bowl of the marinade mix while massaging the marinade mix into the chicken chunks.
Cover the bowl and put it in the fridge, let it marinate for at least 2 hours, or overnight!

Skewer the meat:

First of all, be sure to soak your skewers in water for at least 2 hours, if they are made out of wood or bamboo
otherwise they will burn when you put them on the grill grate.
Cut the onion and paprikas into bite-size pieces – then thread the chicken chunks and vegetables onto the soaked skewers.
Make sure to place a piece of onion and pepper between each piece of chicken.

Grilling the chicken:

The best way to grill the chicken is to use a barbeque! Heat the barbeque, and make sure that the charcoal is nicely burning.
Then place the chicken skewers on the grill grate and grill and rotate every couple of minutes until all edges are golden brown and have a nice char to them.
A good way to check if the chicken is fully cooked is to press it with your finger (please do not burn your finger!) and if it feels too soft it means the meat is still raw, but if it bounces back, it means the meat is ready to eat!
Serve with some lemon wedges! also nice to top with some parsley.
One can eat the Chicken Kebab in a pita bread with some spicy sauce, tahina, and an Israeli salad.

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