CANCELLED | Kunstlicht x VU Art Science Gallery: Launch “Sünya: Starting from 0”

Unfortunately, this launch is cancelled due to the covid-19 restrictions. We plan to re-schedule this in February. Please check this page for updates.


Location: VU Art Science Gallery, Amsterdam

In this issue of Kunstlicht, the reader is invited to investigate how zero has captured the imagination of scientists and philosophers alike. This issue of Kunstlicht compliments the exhibition 0 Starting from Zero, which features the artworks of Jennifer Tee, Jan Robert Leegte, Evelina Domnitch & Dmitry Gelfand and Nicky Assmann, who visualise various aspects of the number zero. The contributions in this issue philosophically expand on the concept of sūnya and zero even further, whilst simultaneously interpreting this concept as a void and /or a fullness.

The contributors to this issue delve into the complexity of zero from several perspectives, enquiring about social structures, digital constructs, systems of perceptions, and the fields of contemplation and observation. The reader is thus encouraged to approach the concept of zero as a liminal space that overcomes the boundaries between art, philosophy, and science, opening to interdisciplinary analysis.

Please join us for an afternoon in the VU Art Science Gallery, amidst the exhibition that inspired it all. This launch is hosted by the guest editor of this issue, Maria Chiara Miccoli, and Kunstlicht’s editors-in-chief, Joyce Poot and Anna Sejbæk Torp-Pedersen.

JENNIFER TEE, ATOMS SERIES #2, 2016, HAHNEMÜHLE MUSEUM ETCHING PAPER, 350 GMS (FRAMED), 66,5 X 66,5 CM (EACH). EDITION OF 3. COURTESY GALERIE FONS WELTERS, AMSTERDAM. PHOTO GERT JAN VAN ROOIJ.
JENNIFER TEE, ATOMS SERIES #2, 2016, HAHNEMÜHLE MUSEUM ETCHING PAPER, 350 GMS (FRAMED), 66,5 X 66,5 CM (EACH). EDITION OF 3. COURTESY GALERIE FONS WELTERS, AMSTERDAM. PHOTO GERT JAN VAN ROOIJ. RISO RENDER FOR KUNSTLICHT COVER BY RISOWISO.

Kunstlicht x Framer Framed: Launch “The Worldliness of Oil”

We’re happy to announce the launch of the new issue of Kunstlicht at Framer Framed on October 16th at 19:30. The issue is titled The Worldliness of Oil: Recognition and Relations, and delves into how oil continues to shape individual experiences and national identities, propelling conflict and creating disparate economic opportunities.

Date: Saturday October 16th
Time: 19.30h
Register here for free

In this double issue of Kunstlicht, the reader is invited to investigate the (parallel or displaced in time) relations between, and experiences of, oil nations, or petrostates, if you will. These are countries that are marinating in resources, but also deeply entrenched and engaged in resource conflicts and wars. Those who live on and support themselves off the lands and oceans are directly impacted by this industry, and consequently its economy and politics. The contributors to this issue delve into these complex cultural fields from a wide range of perspectives relating to the past, present and future.

During this launch Kunstlicht will present a reading from Clementine Edwards, and speak with artist Tanja Engelberts and writer Niloufar Nematollahi, all introduced by the guest editors and curators Anne Szefer Karlsen and Helga Nyman. Please join us for an evening in the name of the experiences of oil hosted by Kunstlicht’s editors-in-chief, Joyce Poot and Anna Sejbæk Torp-Pedersen.

Installation view of Spiral Jetty at KFC by Clementine Edwards, 2014, TCB Art Inc, Naarm/Melbourne. Photo © Christo Crocker.
Installation view of Spiral Jetty at KFC by Clementine Edwards, 2014, TCB Art Inc, Naarm/Melbourne. Photo © Christo Crocker.

About:

Clementine Edwards is a Rotterdam- and Naarm/Melbourne-based artist who works across sculpture, film, performance, writing and jewellery. Her ongoing research line is material kinship, which she locates in the context of climate colonialism. Soon Clementine publishes The Material Kinship Reader, co-edited by Kris Dittel. clementineedwards.com.

Tanja Engelberts is currently a resident at the Rijksakademie voor beeldende kunsten in Amsterdam. She graduated from a master fine art at Chelsea College of Art & Design after studying sculpture and monumental arts in both the Netherlands and Japan. Her works are included in the collections (a.o.) of Clifford Chance (UK), Nationale Nederlanden (NL) and the Ucross Foundation (USA).

Helga Nyman is an art historian and curator at Stavanger Art Museum, Norway.

Niloufar Nematollahi is a Rotterdam-based artist and researcher currently studying Middle Eastern studies and international relations. Intrigued by the intersections between culture and politics, Nematollahi studies artifacts such as stories and propaganda in order to construct a truthful representation of people’s entanglements with political dynamics of all sorts. Currently, Nematollahi’s research focuses on the links between the Iranian oil industry, labor movements, and resistance literature in the south of Iran.

Anne Szefer Karlsen is a curator, writer, editor and Professor of Curatorial Practice, currently programme director for MA Curatorial Practice at the Faculty of Fine Art, Music and Design, University of Bergen, Norway.

Ruby de Vos is a PhD candidate at the University of Groningen, where she is finishing her PhD “Living with Toxicity: Toxic Temporalities in Contemporary Art and Literature”. She writes about art for various platforms, and has curated, among others, Mngrv by Susanne Kriemann at Galerie Block C in 2020, and After Hiroshima: Cultural Responses to the Atomic Bomb, a cultural week about nuclear weapons at various locations in Groningen in 2019.

VOL. 42 NO 3/4, 2021, THE WORLDLINESS OF OIL

TABLE OF CONTENTS

4. FOREWORD – Joyce Poot and Anna Sejbæk Torp-Pedersen

5. INTRODUCTION: THE WORLDLINESS OF OIL. RECOGNITION AND RELATIONS – Anne Szefer Karlsen and Helga Nyman

9. THE DREAMS OF THE PEOPLE: BAHIA BENCHEIKH EL FEGOUN’S “DREAM FRAGMENTS” – Natasha Marie Llorens

15. FROM THE “COURT FOR INTERGENERATIONAL CLIMATE CRIMES”: THE LIVES AND DEATHS OF OIL – Ashley Maum

26. RUMINATIONS ON PETROPUBLICS ACROSS BORDERS – Sanaz Sohrabi

36. SHADES: TRACING PETROMODERNITY THROUGH COLOUR IN RAJA’A KHALID’S “SOLAR FLARE, ALWAYS RED” – Murtaza Vali

46. “OIL IS NOT EXTRACTED EASILY, OUR LIVES ARE SACRIFICED FOR IT”: IRANIAN OIL FICTION – Niloufar Nematollahi

50. “VEIN” – Tove Kommedal

52. THEY LOVE ME, THEY LOVE ME NOT: POETICS OF GENERATIONAL RESPONSIBILITY – Marie Skretting

54. WILL THE RAVENS TURN WHITE? ARTISTS JESSIE KLEEMANN AND INUUTEQ STORCH ON GREENLANDIC OIL FUTURES – Anna Sejbæk Torp-Pedersen

63.  IMAGINING ACTIVISM: BLACK, GOLD, DUST – Roshini Kempadoo

69. THE PLASTICITY OF TIME, “MNGRV” – Susanne Kriemann and Ruby de Vos in conversation

78.  VISIBLE PIPELINES IN CONTEMPORARY RUSSIAN VISUAL CULTURE-  María Matilde Morales

86.  SPILLS, CURRENTS, FLOWS: DISRUPTING THE HEGEMONY OF PETROCAPITALISM WITH WATER – Agnieszka Wodzińska

96.  NORTH SEA OIL AND GAS: TANJA ENGELBERTS – Anna-Rosja Haveman

112. ABSTRACTS

116. COLOPHON

Watch Online: Launch “Spellbound” | Kunstlicht x Felix Meritis

 

Contributors: Anna Sejbæk Torp-Pedersen, Joyce Poot, Fabienne Chiang, Dunja Nešović, Fabienne Rachmadiev, Aimilia Efthimiou, Savan Mohammed-Amen, Naomi Collier Broms & Amalia Calderón.

With thanks to Felix Meritis and their Cultural Emergency Hospital. Felix Meritis opens their doors to make their corona-proof facilities available to other cultural institutions or artists who are also struggling due to corona, but want to keep creating. To support that, they are offering our facilities free of charge. That way, Felix Meritis allows others to catch their artistic breaths right in the beautiful center of Amsterdam.