Necsus # True

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The Spring 2017 issue of NECSUS is out with a sepcial section TRUE by guest editors Ilona Hongisto, Toni Pape, and Alanna Thain. And the audio-visual essays section curated by Kevin B. Lee.  And much more to check out at


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Image: Pieter Paul Pothoven, Lapis Lazuli from Serr-i-Sang, PuntWG, Amsterdam, 2015. Photograph by Gert-Jan van Rooij

Geo Mediations

A symposium with Jussi Parrika, Femke Herregraven, Erin Espelie, Conny Groenewegen, Pieter Paul Pothoven, Adam Nocek and Patricia Pisters

16 Juni 2017 20:30 -23:00  

Mediamatic Biotoop

Dijkspark 6, 1019BS Amsterdam

Geo Mediations celebrates the entanglements of media and geological events. By situating media objects and digital culture within geological processes, the event addresses the need for a materialist understanding of mediation in the Anthropocene: the present geological epoch during which humans have become a geological force that is capable of having environmental impact on the earth. The evening program brings together a wide ensemble of voices in both talks and artwork presentations.

 The program is composed and organized in collaboration with ASCA (Amsterdam School for Cultural Analysis) and the Laboratory for Critical Technics from Arizona State University and will be hosted by Mediamatic.

Femke Herregraven Optical Orbits

Visual artist Femke Herregraven will present Optical Orbits, a video work that addresses the historical and contemporary construction and geography of the telecommunications infrastructure that serves as the backbone of today’s financial markets.

Pieter Paul Pothoven: Stone Light Mirror

Pieter Paul Pothoven’s artistic work consists of installations, sculptures and photography, and also includes different forms of writing. In Mediamatic, Pothoven will present Stone Light Mirror, a work that engages two ongoing projects that focus on ancient geological resources and artifacts, their postcolonial history and the social interaction they continue to mediate as precious commodities.

Jussi Parrika + Emma Charles: Underground: An Occult Infrastructure

Underground: An Occult Infrastructure is a performance talk. Media theorist Jussi Parikka elaborateson the centrality of the underground and the imaginary of the invisible, hidden data infrastructures as part of the current focus on data culture and the legacies of the Cold War. The talk is performed as part of Emma Charles’ film The White Mountain (2016). The White Mountain is a 16mm docu-fiction film that is set primarily in the Pionen data centre, a former Cold War era civil defence bunker buried 30 metres underground in Stockholm and redesigned by architect Albert France-Lanord in 2008 to house large servers, notably having included those of Wikileaks and PirateBay.

Conny Groenewegen: Fashion Machines

Conny Groenewegen creates fashion and art pieces made from textile with a focus on production and labour processes. In collaboration with the Laboratory for Critical Technics at Arizona State University, Mediamatic and Conny Groenewegen presents Fashion Machines: a large scale installation incorporating more than 1.000 kg of fleece sweaters and the labor of hundreds of volunteers to set the machines in motion. As such, Fashion Machine is a critical reminder of the magnitude and lasting impact the fashion industry has on the Earth.

Erin Espelie: Automorphic

Erin Espelie is an American filmmaker, writer, and editor. Her work investigates current scientific research related to the Anthropocene, issues in environmental history, questions of epistemology, and our expectations of the moving image. Her film Automorphic shows the rare-earth mining operations in the Mojave Desert and how they offer their own set of boundaries for our sense of seeing, self-reflection, and meditation on technology.

Information and Tickets

Geo Mediations Symposium 
Friday 16 June
Program starts at 20:30
Mediamatic Biotoop, Dijksgracht 6, Amsterdam

Geomediations Collective website



Felix & Sophie: Het Denken van Deleuze

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Felix & Sophie op 16 mei 2017

Hoe werkt het denken van Gilles Deleuze?


De filosofie van Gilles Deleuze staat bekend als uiterst moeilijk, en niet zonder reden. Zij staat bol van neologismen, waaronder transcendentaal-empirisme, deterritorialisatie, lichaam-zonder-organen, immanentievlak en vluchtlijn. Achter deze enorme woordenbrij treft men bovendien ook nog eens een grootse systematiek.

Ondanks de complexiteit wint Deleuze vandaag de dag wel enorm aan populariteit. Zijn denken wordt in de meest diverse kringen toegepast: metafysici, antimetafysici, nihilisten, theologen, literatoren, filmmakers, management-specialisten, wiskundigen en chaostheoretici – allen hechten zij een groot belang aan het werk van deze Fransman. Deze avond zullen we Deleuze’s bijdrage aan twee domeinen van de filosofie onder de loep nemen: de metafysica en de esthetica.

Binnen het metafysische denken heeft Deleuze een unieke positie. Hoewel hij bijvoorbeeld bekend staat als postmodern, moet Deleuze niks hebben van het einde van de metafysica. Deleuze is veeleer een realist: in zijn denken ontwaart hij structuur in een wereld zonder God - geen pure chaos, geen universele kosmos maar een ‘chaosmos’. Met behulp van concepten als ‘verschil’, ‘multipliciteit’, ‘ rizoom’ of ‘assemblage’ maakt hij de oneindige hoeveelheid verschillende dingen van de wereld tot zijn uitgangspunt terwijl hij die op hetzelfde moment binnen één en hetzelfde denkraam probeert te vangen.

Ook binnen de esthetica is Deleuze’s denken invloedrijk. Voorop daarin staat het soort ervaring dat de kunsten ons bieden. Waar de filosofie volgens hem vooral concepten moet creëren, creëert de kunst namelijk ‘een brok ervaring’ in de vorm van een affect of percept. Aan die percepten moet de filosoof proberen in een concept uitdrukking te geven. In zijn invloedrijke studies over film doet Deleuze dat bijvoorbeeld door het soort ervaring dat de film ons biedt nader te articuleren. We moeten films volgens hem niet beschouwen als een aaneenschakelijking van losse momentopnames, maar als een ondeelbare fluïde beweging. Gewapend met dat inzicht buigt hij zich over het effect van die beelden, een effect ‘op de hersenen’ in plaats van de geest.

Aan de hand van deze twee dimensies, het metafysische en het esthetische, zullen we niet alleen proberen de complexe logica van Deleuzes denken te ontrafelen maar ook te demonstreren hoe zijn denken werkt.

Met: Patricia Pisters 

Emerald Transmutations Fiber Festival

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Emerald Transmutations is part of the EYE on ART program curated by the FIBER FESTIVAL

Emerald Transmutations at the Alchemy Film Festival

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Emerald Transmutations

An experiment in digital alchemy inspired by the surrealist parlour game Exquisite Corpse and by the Emerald Tablets, the foundational hermetic text in Western alchemy. Starting with the “prima materia” of two scenes from celluloid film history, the combined scenes were passed along between seven “digital alchemists” who each performed a process of transmutation on the material in an attempt to turn base metal into gold. By Ian Magor, D.N. Rodowick, Jacques Perconte, Polly Stanton, David Verdeure, Rosa Menkman & Patricia Pisters. / 00:19:00 / 2016 / United Kingdom / World Premiere at the Alchemy Film Festival. I will also present at the artist' filmmaking symposium.


Venice Biennale: Cinema Olanda - Projecting the Netherlands

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Wendelien van Oldenborgh, From Left To Night, 2015. Still from the 32 minute film.

ASCA Biennale seminar: Cinema Olanda - Projecting the Netherlands

Hosted by Esther Peeren and Patricia Pisters, in close collaboration with Wendelien van Oldenborgh and Lucy Cotter.

 ‘Cinema Olanda’ is the title of the project by Wendelien van Oldenborgh and curator Lucy Cotter  that will form the Dutch entry for the 57th edition of the Venice Biennale, taking place in 2017. Taking the Dutch national pavilion, designed by Gerrit Rietveld in 1953, as a Modernist projection of the Netherlands, their exhibition will make space for lesser-known episodes in Dutch postcolonial history and explore how they resonate with current transitions in the Netherlands’ cultural and political landscape. The exhibition and live events in Venice will be accompanied by a multidisciplinary symposium entitled Cinema Olanda: Projecting the Netherlands, which will take place at various locations in the Netherlands in October 2017 in partnership with Amsterdam School for Cultural Analysis (ASCA). This seminar series is the first manifestation of this collaboration.

The seminar will take a series of films by Wendelien van Oldenborgh (viewed during the seminar) as its departure point. Van Oldenborgh’s work is acclaimed for its use of the cinematic format as a methodology for production, with live (public) film shoots generating the collective co-production of scripts. Known for groundbreaking works set in colonial architecture and engaging with its attendant discourses, such as Maurits Script(2006), her recent work engages with Modernist architecture that paved the way for the social, economic and political realities of globalism. In her latest film, From Left to Night(2015) three sites embodying1960s idealist architecture in London form points of intersection of events, subjects and recent histories related to the London riots, music and feminism. Wendelien van Oldenborgh and Lucy Cotter will be present during the first seminar to introduce van Oldenborgh’s work and the Venice Biennale 2017 Project. Other guest speakers will be invited and announced to the seminar participants.

You can register and receive the full program by sending an email to This email address is being protected from spambots. You need JavaScript enabled to view it.. Participation is limited and ASCA PhD candidates are given priority.

Wendelien van Oldenborgh

Cinema Olanda

13 May to 26 November 2017

 Dutch Pavilion

Giardini, Venice

 Curated by Lucy Cotter

Commissioned by: Mondriaan Fund

A parallel program in the netherlands is organized in June and July in Amsterdam (EYE & Stedelijk Museum) and Rotterdam (Witte de With).  See for more information here.