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koda. Uniek. Net zoals jij.

koda Amsterdam creëert unieke, stijlvolle en tijdloze accessoires die zijn gemaakt van materiaal dat overblijft. Bijvoorbeeld: het snijafval van stoffering, gordijn- en tentdoeken. Elke dag blijven er verschillende stoffen over. Dat maakt elk koda-stuk anders. Uniek. Net zoals jij.
 
koda werkt samen met Nederlandse ontwerpers. Hun inspiratie verschilt, maar ze delen een passie: stof. De producten worden met zorg gemaakt in Nederlandse ateliers. Het resultaat van passie en vakmanschap: prachtige etuis en tassen, kussens en plaids.

K&K Chocolade Atelier

Lisa la Pelle

Studio DaG

Limited edition Engelenkeel

Onlangs verscheen het rijk geillustreerde kunstenaarsboek “Engelenkeel”, uitgegeven ter gelegenheid van de gelijknamige tentoonstelling van Berlinde De Bruyckere in Bonnefanten. Voor deze publicatie ging De Bruyckere een artistieke samenwerking aan met auteur Erwin Mortier, die haar werkproces voedde met korte verhalen geïnspireerd door de sculpturen in wording en de gedeelde inspiratiebronnen. Stijn Huijts, directeur van Bonnefanten en curator van de tentoonstelling, situeert de nieuwe sculpturen binnen het bestaande oeuvre en werpt een verhelderende blik op de complexe gelaagdheid ervan. 
 
Uniek! In een gelimiteerde oplage van 100 is het boek ook te koop in combinatie met een gesigneerde print van De Bruyckere. Deze gelimiteerde versie komt in een exclusieve case met het boek Engelenkeel gesigneerd door Berlinde De Bruyckere, Stijn Huijts en Erwin Mortier. De afmetingen van de print zijn 42h x 30b cm.
 
Boek Engelenkeel, €44,95
Limited edition gesigneerd boek en print, €350

BXL x EMERGENT 

Francis Alÿs, Andrea Büttner,
Manon de Boer, Mario Garcia Torres
Emergent
Grote Markt 26, Veurne (BE)
08/05 – 06/06, Sat-Sun: 2-6 pm
Opening weekend: 08-09/05, 2-6 pm

Jan Mot participates in BXL x EMERGENT, a collaboration between 10 Brussels galleries, presenting work at Emergent in Veurne. The project creates an opportunity for a live encounter between art, public and gallerists who will be personally and safely welcoming visitors during the opening weekend.
Participating galleries: Ballon Rouge Collective, 
Dépendance
, Dvir
, Harlan Levey Projects
, Jan Mot
, La Maison De Rendez-Vous, 
Meessen De Clercq, 
Stems Gallery
, Super Dakota, 
Waldburger Wouters.

Ongoing at the gallery:

Joachim Koester
The Invisible Index
Exhibition extended until 29/05
 

To comply with the regulations only four individual visitors can be welcomed at the gallery at the same time. Wearing of a face mask and keeping a distance of min. 1,5 m are obligatory. 

current exhibition

intermission museum of art (ima) is proud to launch a new collaboration by flora parrott and lindiwe matshikiza on the theme of adaptation, featured through may 2021 as part of ima’s inaugural volume i series.

this experimental video is a progression of a collaborative project between writer, performer and director, lindiwe matshikiza (south africa), and visual artist, flora parrott (uk). their exchange has taken place entirely over long distance, via email, skype and whatsapp, and had a first public showing as part of ‘i’m in the bath on all fours’: a 3-phase visual art exhibition and interspersed series of talks, performances, workshops and screenings curated by well projects, margate, and parrott. in each phase of ‘i’m in the bath on all fours’ a pair of artists, artist groups or researchers were invited to collaborate and expand upon notions of the sub-aqueous, engaging with the nature of water, embodied experience and the deep dark in relation to community and commonality. in its current iteration, ‘i’m in the bath on all fours’ is part of sonia’s boyce’s ‘in the castle of my skin’, previously exhibited at eastside gallery, birmingham, and due to exhibit at middlesbrough institute of modern art (mima) in june 2021.

for ima, on ima, parrott and matshikiza have returned to a piece of their original source material, a youtube video taken at the aach spring in germany by one of the members of the cave diving club, stephan schild. returning to this video, this time with the audio developed by matshikiza, has been an opportunity to revisit the core themes of the project and to find new connections and rhythms with which to continue thinking.

view exhibition | press release

upcoming exhibitions
 

volume i
final exhibition

june 2021
t/here or t/here | jodi hays | ayanah moor

physical exhibition

intermission museum of art
@ stand4 gallery | brooklyn, new york, us

opening reception | 10 september, 7-9pm (eastern/us)
 

volume ii series

we will announce our 2022 volume ii series collaborators and themes on intermissionmuseum.org in mid-may 2021
 

in case you missed it…

about ima

intermission museum of art (ima) was founded in 2020 by rose van mierlo and john ros, in response to the cultural, social, environmental, economic and political fissures that make themselves evermore present during times of crisis and put stress on accepted systems of operation. ima provides a space for critical thinkers to respond to these moments of friction by investigating them as meaningful sites of production, instigating dialogues which will culminate in a public archive.

ima’s name references the question of open space: the flipping movement of a hand searching through archives, gaps in the pavement, performance interludes, tv-commercials, coffee breaks and silent pauses; all moments of unpoliced disruption that are typically un-institutional. at its core, ima therefore proposes the museum as a site of uncertainty; a building without walls; a non-hierarchical collection of interdisciplinary narratives and voices; both a guest and a host; and an exercise in cross-pollination. it resists the architectural premise of power that underwrites the white cube, democratizing the exhibition in terms of access. instead, its architectural premise is that of lateral networks; its vision decentralized and participatory.
 

Damien & The Love Guru

Installation view

Julian Irlinger
‘Europe Divided Into Its Kingdoms ‘

on view until 15. May 2021

opening hours :
Wednesday – Saturday from 12 – 6 pm 
and by appointment

FRIEZE Magazine
Julian Irlinger Captures the Continuities of Imperialism by Emile Rubino
Read full review 

Installation view

Installation view

Installation view

Julian Irlinger
The consistency of the geography doesn‘t seem to be the point.
The inaccurate pieces delineate borders, mainly to suggest that certain nations form states or kingdoms.
In this manner, the printed map is dissected and named “Europe Divided Into Its Kingdoms“.
The preciously crafted board game is marketed as an educational tool for the children of the wealthy.
It is used to prepare for the expansion of the Empire. (Fig. 1)
2021
Gelatine silver print, custom made steel frame
100 x 66 cm (print) / 107,5 x 74 cm (framed)
Edition of 3 + 2 AP

Julian Irlinger
France tries to control the market and use of goods within its colonies through trading routes.
The Douk-Douk is created in the city of Thiers for the Oceanic market, but is instead shippedto the North and
Sub-Saharan regions of Africa. In Algeria, the knife is used by the National Liberation Front against those who run afoul.
The noses and ears of French colonialists are removed by the knife’s razor-sharp blade.
Originally, it is inspired by a French encyclopedia found lying around in a knife workshop
containing information about the Douk-Douk society.
2021
Gelatine silver print, custom made steel frame
50 x 33,5 cm (print) / 55,5 x 40 cm (framed)
Edition of 3 + 2 AP

Julian Irlinger
South of the Weichsel lies the historic part of Warsaw. The view of the old town’s silhouette is protected through architectural guidelines. The density of new high-rise buildings shows the impact of massive economical growth after Poland’s entry into the European Union. In thirty minutes, one can walk to the new business area, the Wola district.
The Warsaw Spire is a conspicuous complex of neomodern office buildings. Its first tenant is Frontex,
the most generously funded agency on the continent.
2021
Gelatine silver print, custom made steel frame
50 x 33,5 cm (print) / 55,5 x 40 cm (framed)
Edition of 3 + 2 AP

Julian Irlinger
The consistency of the geography doesn‘t seem to be the point. The inaccurate pieces delineate borders,
mainly to suggest that certain nations form states or kingdoms. In this manner, the printed map is dissected and named
“Europe Divided Into Its Kingdoms“.
The preciously crafted board game is marketed as an educational tool for the children of the wealthy.
It is used to prepare for the expansion of the Empire. (Fig. 3)
2021
Gelatine silver print, custom made steel frame
50 x 33,5 cm (print) / 55,5 x 40 cm (framed)
Edition of 3 + 2 AP

Julian Irlinger
Okapis are essentially solitary animals, coming together only to breed.
They are native to a territory in Central Africa that wastaken by Belgium at the Berlin Conference.
The nature and habits of the Okapis are best known by the Pygmy population around the Congo River area.
The animal is unknown to Western science until it is encountered by a British colonial administrator.
He is one of the central figures in the European administration of the continent and his side hobby is scientific practice.
While searching for unicorns, he instead encounters the Okapi through the Pygmy people.
2021
Gelatine silver print, custom made steel frame
50 x 33,5 cm (print)  /  55,5 x 40 cm (framed)
Edition of 3 + 2 AP

Julian Irlinger, North of the Mngeni River lies Durban‘s Phoenix Industrial Park, in which a division of Southey Holdingshousestheir production. They purchase their trademark and tooling from a bankrupt manufacturer in Solingen, Germany’s “city of blades”. Originally, the knife is made for Germany’s colonial market, but through trading routes it eventually becomes a symbol ofJamaican rude boy culture.
2021.
gelatine silver print, custom made steel frame
50 x 33,5 cm (print)  /  55,5 x 40 cm (framed)
Edition of 3 + 2 AP

⌭
 

“The Canon T70: combining optical, mechanical and computer engineering that sets it apart from any camera you have ever seen or handled.” This is how the SLR camera, first appearing on the market in 1984, which Julian Irlinger used to shoot the self-developed negatives of the gelatin silver prints which hang on the walls of the gallery, was described. Once available as a milestone among amateur cameras for the hefty price of 750 DM, it soon became affordable for every hobbyist photographer when the autofocus camera was invented – including Irlinger’s mother. She not only preserved private moments with this clunky apparatus, but also constructed a family history in the form of a family album extending over years as a mirror and place of certainty. Accompanying Irlinger since his childhood, this sentimental object has flourished into memorabilia of its own, used for ten years to capture things, conventional matter and its surroundings. The objects depicted in the photographs on view in this exhibition share this realm of  memorabilia and recollection. With its micro buttons, LCD screen and “intelligent computer technology,” the T70 camera was like no other, a child of the 1980s computer age, and today can be pinpointed as resting on the precipice of the post-analog and pre-digital netherworld. Such a terra nullius into which one looks back into the future, so to speak, predicted by Katsuhiro Otomo four years before his cyberpunk anime classic film Akira was released, appears in the debut commercial of the Canon T70, which serves as the flyer for this exhibition: 

Two anime figures dressed in retro-pop chic – on the left a cropped woman in a turquoise bodysuit, on the right a man in a squeaky red leather jacket with a diabolically sinister gaze directed at us, while the camera floats like a crystal ball in his hands. Behind them, a tracing-like copy of Peter Bruegel’s  Tower of Babel  in black outlines recedes into the distance like a phantom ruin. 

As a critique of human hubris, the unhinging of the original unity of people and languages manifests itself in this Bruegelian construction with impossible foundations, which seem to have already laid themselves to waste.  It is therefore no mere coincidence that reproductions of Bruegel’s painting once embellished the walls of computer labs from the 1950s onwards as a dystopian leitmotif in the face of planned uncontrolled growth. Attempting to rectify the aftermath of the construction of the tower with the “unity through formalization” principle ought to serve to finally concoct a langue universelle  in information systems. In this telematic society, it was not the immediate gaze that was meant to feed us with image production  and stimulate discourse, but a medial, apparatus-directed gaze: where Flusser notoriously positioned photography at its beginning.  Ultimately, those frozen capitulations into the present as leitmotifs, like Bruegel’s painting, envision the dialectic of the polysemic word aufheben (to keep or to remove) in the image-making process between the present and the past without ever declaring reconciliation: On the one hand, preservation, to keep the traces of the past for the purpose of remembering and retrieving. On the other, erasure, to suppress and forget unwanted truths. This dialectic of preservation and erasure also applies to prevailing exegeses of a myth of “plurality as punishment,” as the tower of Babel demonstrates, as well as the proto-history of loss that embraces a nostalgic longing for a forsaken imagined unity – a longing as an “imagined homecoming itself.”  Svetlana Boym distilled this relationship to the past, to the imagined community, to the homeland, to one’s own self-perception into “restorative” or “reflexive” nostalgia. While the former tries to revive the past as rigorously as possible – and in doing so, runs the risk of rebirthing the “nation” as a conceptual framework – the latter feeds instead on the soothing longing that loss creates, which acknowledges that the process of remembering is imperfect: the past can never truly be reconstructed. 

A black and white photograph can be precisely staged and equipped with that nostalgia to represent an idealized past that defies the present. The luminous imprints produced with the help of an analog camera – such as the T70 – might trigger authentic traces of presence, so-called indexical effects that massage the very authority of a photographic image. This is a photograph that often comes with forensic assumption like  “that’s the way it was,” this is where it was and that its imprints are analogies of reality, causally (and actually magically) linked to its object. 
However, to misconstrue the photograph as the primary vehicle of expression and communication would be myopic, since it can stand in equal and sometimes in conflicted partnership with the written word even if it’s mostly elsewhere: titles, labels or even this exhibition text – examples demonstrating that what we see, and how we recognize it emerges from a combinationatory process. This “third something,” as Eisenstein called it, does not only serve to nourish or topple the articulation of a nostalgic “trace,” but moreover reminds us to revise practices of its reading. 

Thus, one might ask in our present moment: How can a supposedly dewy-eyed black-and-white photographic image negotiate its discursive network and relationships to the past, its subject, the apparatus, the written word and the represented object in a deliberately unfinished operational manner? How can it even unfold something like a utopian potential in nostalgic acts of consumption and function as a prospective talisman for its own blind spots? 

⏤ Elisa R. Linn

⌭

CURRENT EXHIBITIONS 

Jannis Marwitz & Raphaela Vogel
Rod
20. March – 8. May 2021
Kantine 
Brussels 

Christiane Blattmann
The Constant Glitch 
group exhibition
acquisitions for Museum M and Cera Collection of emerging artists residing in Belgium
2. April – 5. September 2021
Museum M 
Leuven

Margarita Maximova
Fifth Wave
group exhibition
15. April – 6. June 2021
Garage Museum of Contemporary Art (MCA)
Moscow

Vanessa Disler
Fly, Robin, Fly
group exhibition
curated by Nils Alix-Tabeling
25. March – 6. June 2021
Mécènes du Sud Montpellier-Sète
Montpellier

Jannis Marwitz
The Raid
30. April – 12. June 2021
Galerie Barbara Weiss
Berlin

Jasmin Werner
Unschuldsengel
30. April – 14. May 2021
Project Space of Westfälischer Kunstverein 
Münster

Anne Fellner & Okka-Esther Hungerbühler
Für Ilse
1. May -31. May 2021
new-home
Berlin

UPCOMING EXHIBITIONS

Christiane Blattmann
Emanuele Marcuccio
Bread and Salt
Inaugurating group exhibition
May 2021
The Community Centre
Paris

Sharon Van Overmeiren
take out
Opening
22. May 2021
PLUS-ONE gallery (south)
Antwerp

Vanessa Disler
Big Naturals 
Opening
29. May 2021
Damien & The Love Guru
Brussels 

Joachim Koester
The Invisible Index
Exhibition extended until 29/05

Ongoing at Museum Dr. Guislain, Ghent (BE):

Joachim Koester
Altered States 
Exhibition until 13/06

Upcoming at Emergent, Veurne (BE):

08/05 – 06/06
BXL x EMERGENT 

Francis Alÿs, Andrea Büttner,
Manon de Boer, Mario Garcia Torres

To comply with the regulations only four individual visitors can be welcomed at the gallery at the same time. Wearing of a face mask and keeping a distance of min. 1,5 m are obligatory.