Article index
Issue #009 articles
Issue #009 Published: 02-11-2016 // Written by: Max Dovey
Platform co-opervatism Short-term security in the on-demand economy
Last month I witnessed a chanting mob of disgruntled Deliveroo riders who had gathered outside the company’s headquarters in London to protest against an intended pay cut that would reduce their hourly wage from £7 (€ 8.30) to £3.75 (€4.45) per delivery. The demonstration was the latest eruption of employee dissent within the on-demand economy as workers respond to severe wage cuts and other challenges to their employment rights.  Platforms such as Uber and Deliveroo operate at the forefront of the recently established ‘gig economy’. As the popularity of on-demand apps increases, more and more young people are attracted by the short, flexible working arrangements offered by these platforms. Uber claims to have over 160,000 drivers globally, while the food delivery company Foodora has gone from 3 to 600 employees in the Netherlands in under a year . However, rapid expansion comes with hidden costs. Many on demand companies circumvent traditional employment rights by hiring staff as independent contractors on zero hour contracts that give employees little or no entitlement to holiday, sick cover or changes to pay. In addition, freelancers (or independent contractors) are required to possess their own insurance, complete their own taxes and encouraged to work on a fixed rate rather than an hourly or minimum wage.   By offloading the traditional maintenance costs of running a business to individual employees, on-demand business can reduce usual costs and avoid the legal accountability that accompanies long-term contracts. The Deliveroo drivers on strike in London celebrated a small success in their protests and the managers offered to postpone the intended paycut until further notice . Undoubtedly we will witness more protests like this, as the on-demand economy expands in a wider context of ongoing austerity cut backs and youth unemployment, many find the casual work offered to anyone with a smart phone short term relief from the ongoing search for full time recruitment. Do strikes and mass walk-outs like these signal the beginning of a workers’ crisis in the on-demand economy or can the rights of the worker be improved to prevent the share economy depending on an exasperated and exploited on-demand employee? One possible resolution is the reintroduction of workers’ co-operatives and common ownership in business and platform services. Platform co-operativism, a term introduced by Trebor Scholz and Nathan Schneider from the New School in New York, presents a practical solution for workers, business and start-ups in the digital economy.  Workers’ co-ops were introduced after the industrial revolution in an attempt to manage business more democratically and protect the rights of the worker. While some of the most successful examples of workers co-ops exist in the wholefoods sector (see Suma & Essential Trading), the concept is undergoing a renaissance among start-up businesses and digital platforms. Fairmondo, established in 2013, is a p2p marketplace similar to Ebay that aims to create a ‘fair economy’ by distributing its profits between all of its members. After crowdfunding the investment capital needed to get going, Fairmondo then established a set of rules titled co-operative 2.0 . These guidelines include only making decisions with 9/10 consensus, distributing profit evenly between its members and even publishing all their accounting online  A similar co-operative venture is the lift sharing service Lazooz which attempts to turn shared transportation like Uber into a co-operatively owned platform, while using a crypto-currency token system to reward drivers and passengers equally. Peerby, a sharing platform based in Amsterdam, has also used crowdfunding to restructure the traditional start-up model and turn all investors into equitable shareholders of the business.  Platform co-operatives present a viable alternative to on-demand capitalism but their success deeply depends on their scale and diversity. Working co-ops in the past have been known to limit participation in order to protect themselves from market expansion and this unfortunately can lead to a few privileged members preventing diverse inclusivity. Can platform co-ops now utilize the network to become more a more inclusive and democratic collective organization than the co-operatives of the past? Currently, the aim is to raise awareness about these alternatives to start up businesses and national governments in order to protect and improve the standard of work for the low-waged, on-demand worker. And some political parties seem to be listening. In August, Jeremy Corbyn, the leader of the Labour Party in the United Kingdom, put platform co-operativism at the center of his Digital Democracy Manifesto  in an attempt to re-establish trade unions in the digital economy.  The ambition to create a co-operatively owned version of the share economy is there, but I fear that without governments offering support to co-operatives they are at danger of getting wiped out in the tide of on-demand platform capitalism. If forced to compete with other apps without government subsidies, tax reliefs or other incentives, platform co-ops may be forced to market their values only to compete and offer an ethical or ‘worker conscious’ alternative. This could potentially lead to a rise in sustainable consumer choices in the on-demand app market, similar to the rise of organic produce or locally sourced food, making the platform co-op little more than an ethical alternative to the platform monopolies of Uber and Deliveroo. In this scenario, the important values of the platform co-operative (commonly owned, collectively governed) become fetishized buzzwords with little or no structural change to employment rights, worker unionization and collective organization.  In order to avoid the commodification of co-operative values regional governments should look to support the growth of platform co-ops and continue to discuss how the trade union can be updated and incorporated into crowdfunded and crowdowned enterprises. The ideas are already beginning to take hold in cities that have already been damaged by the affects of share economy businesses such as Berlin, which has a strict limit on Airbnb rentals, and Rio de Janeiro, which banned Uber all together last year . In areas such as these, where the repercussions of unregulated digital platforms have already impacted social welfare, the platform co-op may offer a promising sanctuary from the destructive expansion of on-demand capitalism.  Trebor Scholz will present Platform co-operativism at  MoneyLab #3 Failing Better  1-2 December 2016 Pakhuis de Zwijger Tickets:  Info:
Issue #009 Published: 28-10-2016 // Written by: Camille de Wit
The Art of Sustainability or The Art of well-living together!
How art can be a transversal link to question all aspects of the society and support a sustainable change? This column is a showcase of talented initiatives and reflections about Art and Culture supporting the well-living in a society allowing to “meet the needs of the present without compromising the ability of future generations to meet their own needs” - Brundtland Commission on Environment and Development, 1987. #1 - Do you know your cultural rights? Why do I want to talk about cultural rights? I believe in the richness of people coming from their experience, belief, knowledge, way of living, emotions, creativity, and strength… but how to highlight all the qualitative features of human beings? And how to measure the interaction of human richness? Several important political agreements have raised the issue of cultural rights as the Universal Declaration of Human rights, The International Covenants on Economic, Social and Cultural Rights from UN, The Universal Declaration of Cultural Diversity from UNESCO, Faro Convention on the Value of Cultural Heritage for Society and much more. Finally in 2007, the Fribourg Declaration was elaborated to gather all cultural rights from the different political instruments. Convinced that in understanding it better, we can avoid its violation that brings tensions and conflicts in the world but also in respecting it, it becomes a factor to legitimate the sustainable development. The cultural rights are part of the human rights that are interrelated, interdependent and indivisible. It’s part of the basics of our daily life but often forgotten in favour of power or individualism. Let’s try to see what ‘cultural rights’ means and how we can reclaim it! Let’s not only leave it to academicians who write conventions but let’s make it concrete for us! First of all, the definition of Culture used in the declaration is seen in a large sense. It covers “those values, beliefs, convictions, languages, knowledge and the arts, traditions, institutions and ways of life through which a person or a group expresses their humanity and the meanings that they give to their existence and to their development.” (art2. Declaration of Cultural Rights, 2007). Enhancing this, people won’t feel anymore weight of their roots and differences but it will become richness for themselves and for others. The declaration presents the rights of the people but also their responsibilities. Good to know that we all have richness but we all have the responsibility to share it with others: in building a common knowledge and in developing cultural resources collected from the everyday and also the most exceptional part of life. This is how we can be part of the society and play a role in the democracy. Sharing our cultural resource make us decide to respect the others in their difference and to co-recognize the right of human dignity.  When we talk about democracy, we often feel it unreachable, too much related to our governmental system, however the democracy means “Power to People”. Using the recognition of the cultural rights, we can rebuild a democracy that is closer to us. No need of big actions! Participating locally in the development of our own neighbourhood, sharing our cultural resources with our neighbours during a diner or being involved in a non-profit organization are already moments where we take back the power. In the sector of Art and Culture, the political mainstream is to give access to Culture or to develop the cultural consumption. But in a perspective of the cultural rights, the cultural exchange is not only one way because everybody has culture to exchange and everybody can get richer sharing with others. We can then think that participation to Culture will be more appropriate to create more engaging meetings between Art & Culture and people. Idriss Aberkane, French research engineer, purposes the concept of “Knowledge Economy”. He explains that when you exchange knowledge, you still keep your knowledge, while when you exchange a product you don’t have the product anymore. So you are getting richer, having two knowledge. If we base our economic growth in knowledge instead of raw material, then we will have an infinite growth!  Cultural rights is our immaterial heritage but also our present and our future if we find a way to make it alive!  
~Arts Published: 18-10-2016 // Written by: Eve Kalyva
Review On fringe and subversion
For those who weren’t lucky enough to go to any of those grand August festivals and were stuck in Amsterdam like myself, September was all about Fringe this and Fringe that. We will go with “Fringe that”, i.e. the Free Fringe festival (1-11 September, various venues). On its fifth year, FF’s mission is to embrace and promote diversity, creativity and artistic freedom. “To be a beacon in the darkness of corporate mediocrity” as its organisers put it. With a plethora of visual art, music, theatre, screenings, performances, comedy, games and animation, the FF had something for everyone – everyone, that is, who’s fed up with perfection, consumption and blink and is up for more DIY, having a go and having fun. For everyone who wants to be less of a spectator in this society of spectacle. For the FF is not only about the events, creative, critical, subversive, political and noisy – a potent cacophony, if you like, amidst the apathy that surrounds us and that reflects dominant ideologies at best or reproduces them, at worse. FF is also about the venues, their social outlook and the risks that they take to break the isolation and curtail the social antagonism that has come to dominate our lives. Black Circus (3 September, Nieuwland) can be described as an anarcho-queer cabaret. A hairy Melvis and a Lucienne Boyer coughing to death; a Master of Ceremony and a heartbroken wild child with a dildo and a baby with a dildo in hand; a carnivalesque evocation of emancipation involving a horse harness and strange creatures running loose; and news of a faraway land where an aspiring young general had the brilliant idea of giving people carefully measured “choices” that would never amount to anything of substance but still keep everyone complacent and self-absorbed in debates that largely remain besides the point. Some would call that “democracy” but we can have that discussion another time. For now, let us talk about capitalism and the normalisation and regulation of bodies and desires. Discussing the politics of the performative, Judith Butler asks: who speaks when convention speaks? (Excitable Speech: A Politics of the Performative, 1997:25) For you see, our bodies are at the core of the political order. So, if I do “whatever I like” and “express myself” it should be fine, yes? Well, not quite. Doing that is great, but doing only just that is not enough. There isn’t some pure “I” that we somehow misplaced but can effortlessly recover or some unconditioned “personal choice” that we can evoke out of thin air. True, there is a lot to recover and create a new. But it is also important to understand that we live a heavily regulated life and realise ourselves in a highly classed and antagonistic society. Black Circus shows us the transgressive potential of the carnivalesque to defy and subvert the order of power. Queer resists normativity and at least since Foucault’s History of Sexuality (1976), we should all know that sexuality is a social construct, historically formulated. “Dressing up” thus is not an act of concealment but becomes a means to uncover real social conflict. A parody that exposes and ridicules social norms, but that also critically reminds us how our bodies are regulated, classified and normalised along axes of difference (gender, class, race, ethnicity, religion) but also capitalised on, branded and sold back to us. This critique is not done from some “safe” external position but from within the same hierarchies of power that one seeks to challenge – a power that is inscribed on our bodies: the productive, complacent and consuming body. Capitalism needs not only to reproduce goods, you see, but also people. An act or a moment of liberation has a creative as much as it has a destructive power. It is a violent act of shattering the old and of giving way to the new: a new way of being, acting and realising interpersonal relations. To put it differently, “freedom” and “expression” means taking risks. It means getting outside our skin, normalised body and censored voice, and exceeding the comfort zone of conventions and social norms. It means pushing the limits and confronting the “other” as much as we need to confront our own selves – that personal policeman we all have roaming free in the inside of our heads scrutinising and evaluating everything we do. Some might find what Black Circus does “threatening”. But what exactly is being threatened? The safety of the spectator who only wants to consume and go home? The categories and norms that one unproblematically adopts and reproduces, or some sense of a “self” trying to fit in and “proper behaviour”? If so, we should feel threatened. And then go and do something positive about it. Would you like to contribute to the Reviews Section or do you have something that you would like us to review or cover? Get in touch!  redactie(at)  
Issue #009 Published: 14-10-2016 // Written by: HaVik
Bleeps, Beats & Bass 10 years of Basserk records
The Amsterdam based records label Basserk is celebrating its 10 year anniversary. A good moment to have a chat about the past, music, ideas and maybe even the future.  Why did you start the label? It was actually really simple. We were young, ambitious, full of energy and couldn’t find a record label that wanted to release the tracks of our electropunk band 3-1. Most labels didn’t reply to our demo, the ones that did thought it was too wild and unpolished. I guess they didn’t see any market for it. We didn’t care about the market. We were playing a lot of live shows in the Amsterdam squat scene but also on festivals and clubs abroad (France, Japan, Germany etc.). Where ever we played people went nuts. After sending our tracks to about 50 labels we gave up and decided to do it ourselves. So the first EP was a 12 inch vinyl of our own band.  We were proud as hell when we received the boxes from the factory and immediately started to promote and sell then. To our own surprise we managed to get rid of all 500 copies within a couple of months. Not long after we started receiving demo’s from other bands and producers. When we started we didn’t have the intention to go all in on the label, it was just a project to help our own band. But when people reacted with so much enthusiasm we just carried on. Your second release was a compilation. Isn’t that a bit weird? Yes maybe it was but we wanted the label to be a sort of family with more then 1 or 2 bands so at the time it felt like it was the right thing to do. Because we were right in the middle of the electropunk scene with our band we had enough other interesting and talented people around us to fill a compilation album. We knew the guys from Aux Raus, Nobody Beats The Drum, Elle Bandita and a bunch of people from the Berlin scene so a selection was made in no time. And it worked, after the compilation it really felt like Basserk was a serious record label. You are on release number 130 now. When I look at your catalogue I see a lot of different genre’s of electronic music. Why didn’t you stick to the electropunk stuff? We got bored of it after a while. Of course the electropunk scene was cool and we still like the music but there was so much more that inspired and influenced us. There was techno, dubstep, bass oriented styles, down tempo weird electronica, hiphop influenced beats and so on. We sometimes received demo’s that other labels would have binned straight away because it didn’t fit the label profile but we didn’t. If the music got us excited we would discuss it. Of course we realized that releasing various genre’s wouldn’t make things easier but we thought ‘fuck it, live doesn’t have to be easy, it has to be fun and exciting’. The hardest thing is to build an audience, a following that keeps supporting the label. When you release various genre’s people sometimes loose interest. I guess this is exactly why media and businesses like categorizing. To make sure that it is easy to reach people and sell them products. Don’t you want to sell your releases? You have to make money to run a label, or have you got some other system to do this? Of course it is practical to have some money coming in but for us it has never been a goal. The way we run the label doesn’t cost a lot of money. We do most of the things ourselves so the only thing it costs is time and spending time on something you like doing is not a punishment. Besides the label we also run a design agency called 310k. This agency works for various clients doing concepts, graphic design (logo’s, books, magazines, posters and flyers) but we also make websites and a lot of video. The combination of the label and creative agency works great for us. It combines our hobby’s into work. So all artwork, video and promo for Basserk we do ourselves but also mastering we do ourselves. We have always been heavily involved in the OT301 - the home base for our parties - so we still have a sound studio there. In the early days we used to organize a lot of parties. Illegal ones in abandoned buildings, in official venues and from the start of the label also in the OT301. These events were a source of income but also a great opportunity to present newly discovered artists and genres to the public. The average Basserk fan likes a wild dance floor and maybe a sweaty cuddle. If we would have wanted Basserk to be a successful company in terms of making loads of cash we should have done things a little different. Now we can just do whatever we like, we don’t have to break our brains over financial stuff, we just improvise and experiment as we go on. You must have learned a lot about the music industry in the past 10 years. Is this experience something you share with your artists? We have seen the industry change a couple of times. Going from vinyl to cd. From cd to free downloading. From torrents to buying online to streaming and back to vinyl. Besides that there is a lot of invisible shit in the music business. Stuff that most people don’t know about and that isn’t pretty. Young artists for example often sign contracts with publishers and big labels. Understandable because these labels can help the artist to get bigger and reach bigger crowds but very often they get offered contracts that basically sign away all their rights for a very long time. So if there is money to collect it is not the artist getting rich but the companies that suckered the artist into signing. We got disappointed more then once in situations like this. We started cooperations with other companies to get things to a higher level but after a couple of months we found out that our partners weren’t doing anything. They just added all the signed works to their catalogue. They just sit back and wait till there is a success. Now we don’t sign contracts like this anymore, we just do it ourselves. We might not have big things to offer for artists but we do know that we are honest and if we believe in an artist and his/her music we will do everything we can to promote it. Before releasing anyones tracks we usually sit down with the artist, just to make sure that they don’t have massive expectations and think that we will make them famous and rich. How do you select artists for the label? We get a lot of demo’s send to us every week. We listen to all those tracks but we also keep our eyes and ears open when going to parties, concerts or when browsing through Soundcloud. The biggest criterium for us is that all 3 of us have to like it. We don’t really care where an artist is from, what age he/she is and if it is a he or she. When we have approved a demo we will invite the artist to come over for a talk. It is important to talk about expectations and to explain the way we do things. Besides that it is nice to know what somebody looks and talks like. If someone is a complete dickhead we might not even release his tracks even though we like them. Somehow we would rather invest time in people that we have a click with then people that are on anther wave lenght. What makes Basserk records different from other labels? I don’t know that many other labels that well. Normally I just know the artists they release. I guess that is anyway the thing with a label, the artist gets presented not the label. A label is more like a facilitator, a selector, a quality stamp or even a family that helps artists on their journey. What makes us different is probably the fact that we release many genre’s instead of one particular sound. And that we mainly release young, ‘undiscovered’ artists. Ooh and of course our visual focus. We have always made a big effort for every artwork. Every artists gets its own identity and artwork. We don’t use a template thing that is always similar. That might be handy for recognition but it is boring as well.  When vinyl sort of died and everything went from CD to digital the artwork got downgraded a couple of times from an important part of a release to a digital stamp. With the ‘Bleeps, Beats & Bass - 10 years of Basserk’ release we hope to start a new direction and bring back some glory to the artwork.  What is so special about the celebration release? First of all it is a compilation album with 10 new tracks. All tracks are made by artists that have released before on Basserk and as expected there is various genre’s on the compilation. It wasn’t easy to select 10 artists out of all the artists we’ve worked with but after a big brainstorm we came to this selection: Sjamsoedin (formally known as Nobody Beats The Drum), Doctr, Malvae, Nuaru, Van Pi, HuSo, Boeboe X Subp Yao, Kuenta i Tambu, Levingtquatre, U Know The Drill. We could have chosen to press this album on vinyl. Going back to how we started and have the artwork bigger and nicer again, but we didn’t. We came up with something else, something to emphasize the connection between Basserk and 310k and to make the artwork something truly special.  We have created a series of limited edition silkscreen prints. One unique print for every track on A2 in a limited run of 25 copies each. Then a bigger print (A1) that combines all the separate artworks into 1 big scene (see the image next to the article). All these prints are printed in a special blue colour and a glow in the dark ink so it also shines at night. We hope to continue this silkscreen series in the future and add them to at least a couple of releases per year. What more can we expect from Basserk in the future? Are you going to keep doing what you are doing or can we expect some more surprises? Time will tell. We don’t really make plans for the future. Of course we have a release schedule and now with this Bleeps, Beats & Bass project we have started this new direction with the silkscreen prints but it doesn’t mean that we will stick to this for the next 5 years. If we get another great idea again next year we will probably go for that. The label has always been like a living organism that changes shape from time to time and it probably will stay like that in the future. We rather not make promises for the future and just enjoy what we are dong now. More about Basserk on: // Basserk Facebook Basserk on Soundcloud // Basserk on Bandcamp Official album release: 3rd of October (Spotify, iTunes, Beatport etc.) Artwork expo: 19th of October (ADE), OT301 gallery, 18:00-23:00 hrs, free
Issue #009 Published: 12-10-2016 // Written by: Ieder1
10.000 Nederlanders vieren diversiteit
IEDER1 is radicaal hoopvol Nederland is toe aan een nieuw maatschappelijk geluid. Dat bleek uit de enorme opkomst zondag 25 september tijdens de diversiteitsparade van IEDER1. In een kleurrijke mars van de Bijlmer naar het Museumplein vierden ruim 10.000 Nederlanders de diversiteit van ons land. De Parade eindigde op het Museumplein met een inhoudelijke manifestatie waarin thema’s als discriminatie en polarisatie breed aan bod kwamen en waar onder andere Jerry K.L. Afriyie, initiatiefnemer Nasrdin Dchar en de twaalfjarige Samia Elaz hun hoop en zorgen over ons land deelden. Jong, oud, wit, zwart, homo, hetero, transgender, gelovig én ongelovig vormden voor het maken van een mooie luchtfoto samen het cijfer 1, waarmee zij duidelijk maken dat Nederland van iederéén is. Het is voor het eerst dat de diversiteit in de Nederlandse samenleving op deze manier grootschalig is gevierd. Nasrdin Dchar, één van de initiatiefnemers van de Parade, blikt terug: “Het is overweldigend om te zien hoe Nederland zich vandaag gepresenteerd heeft; hoopvol, respectvol, positief en divers. De enorme behoefte aan een ander geluid was vandaag duidelijk voelbaar. Een geluid dat zegt: gebruik de kracht van woorden om te verbinden in plaats van te breken. Diversiteit is de kracht van Nederland. Dat wilden we laten zien en dat is gelukt. Van hieruit bouwen we verder.” aldus Dchar. Hoe nu verder? Burgerinitiatief IEDER1 is pas kort geleden in het leven geroepen en is gezien de enorme opkomst van de diversiteitsparade nu al daadkrachtig. IEDER1 roept Nederlanders op om in hun eigen leven belangrijke thema’s als ‘erkenning van de complete gedeelde Nederlandse geschiedenis’, ‘onderwijs’ ‘en ‘nieuwe ontmoetingen’ te helpen dragen en verder te brengen. Meer informatie hierover staat binnenkort te lezen op
Issue #009 Published: 11-10-2016 // Written by: Joost
Orbs festival For Sonic Boundaries
The meeting of psychedelic art and music is the foundation. The influences of the artists, their ideal to push the boundaries and together create the headroom to share inspiration. The soil bordered by the movements and expressions. Many artists find an overtone by an unrelated art form. Variations of literature return in the musical realization. Which visual artists are influenced by in their works.  “Topics such as karma and reincarnation, as described in David Mitchell’s Cloud Atlas, Murakami’s Kafka on the Shore and the Tibetan book of the dead, come back frequently and have a major impact on the music of Macondo. The echo of these books is musically translated into continuous, meditative pulse and melodic phrases” - Macondo In this approach Macondo creates its own timbre which is fed by the literary works. The creative process is a journey of discovery for each artist. Nature, different art movements and the search for a distinctive sound is the incentive to experiment constantly. “I work digitally a lot but to keep it interesting for myself and for the image I like to involve other disciplines. For example photography, I like to make pictures that I incorporate into my work. Which I use as a texture so that the work does not feel to digital and gets more depth. Since I like to be outside from which I get a lot of inspiration” - Robin of Studio Fungi    The similarities between disciplines are often divided. Animation and visual arts have both the character of endless possibilities. The creative process differs in the selected technologies. “In the last years more diversity is developing, also realistic, organic, geometric and various styles are evolving. On one hand I like to focus and specialize, on the other hand I like to experiment and to explore” - Bbi Lake. Dive into the depths of psychedelics. Orbs is the festival for psychedelic and innovative artists. On October 15 artists will exhibit their work in the form of exhibitions , film presentations , lectures and concerts. The program consists of: Tomaga (UK) Forming percussive energy through analog synthesizers to create a clash of vibrant rhythms and sounds, Jo Goes Hunting Avant-garde pop music consisting of deep analog bass synths, spacey guitars, rhythmic variations and spatial vocal harmonies, Odile Dreamy oriental atmospheres, psychotic nightmares and hallucinogenic plant extracts, Sietske Isings It needs to have the fleeting, foggy , inaccessible vibe from a far distant memory, an event that once was but no longer is, HØUND, Studio Fungi, Cusack, The Anaesthetics, Bbi Lake, The Mighty Breaks, Mantra, Mango Zabba, Fetter, Alcuna Wilds, Naomian From The Planet Zork, Macondo, Joost Verhagen & Templehum will compliment your viewing pleasure with tantalizing sounds to immerse you further down the spiral of psychedelic art and music. During the Orbs Festival Klik! Amsterdam Animation Festival will show a selection of short animated films. The look of the film makers of the world and how they translate this into this boundless art form is the opening of the Orbs festival where the various psychedelic art forms merge. “I believe that every human being knows what he or she prefers, the more reason to make art more accessible so each everyone can make a more beautiful world of his own” - Naomi Jansen Saturday 15 October Open: 16:00 Presale: €13 // Door: €15 Location: Duycker, Raadhuisplein 5, 2132 TZ Hoofddorp More information:
Issue #009 Published: 06-10-2016 // Written by: RV & AA
Radio Voicemail: Nieuwe serie #4
Radio Voicemail is een wekelijks radio programma van 2 minuten, uitgezonden via de voicemail van het nummer 0031(0)6-1973 60 48. Het bevat een jingle, een introductie en een collage van geluiden, tekst of performances waarvoor ieder jaar 20 kunstenaars wordt gevraagd om werk te maken. Zo is geleidelijk een nieuw platform ontstaan uit een inefficiënt medium waarin de voicemail hergebruikt wordt als verlaten digitale ruimte.    Iedere woensdag is er een nieuwe uitzending wie een week lang te beluisteren is en om dit kenbaar te maken hangt er een betonnen gevelsteen aan de muur van verschillende kunstinstellingen, met de namen en uitzenddata van de kunstenaars erin gegraveerd. Zodra er een nieuwe uitzending is wordt de voorgaande naam doorgeslepen door een medewerker van het instituut. Dit jaar zijn dat Worm (Rotterdam), Extrapool (Nijmegen), De Fabriek (Eindhoven), OT301 (Amsterdam), W139 (Amsterdam).  Serie #4 met: 7 sept: Elsemarijn Bruys 14 sept:  Nina Boas 21 sept:  Roland Spitzer 28 sept: Marijn Ottenhof 5 ok: Hilde Onis 12 okt: Cihad Caner 19 okt: Maud van den Beuken 26 okt: Philippa Driest 2 nov: Gabriel Lester 9 nov: Jay Tan 16 nov: Judith Witteman 23 nov: Gino van Weenen 30 nov: Line Kramer 7 dec: Nada van Dalen 14 dec: Casper Braat 21 dec: Joost de Jong 28 dec: Charlotte Ursem 4 jan 2017: Daan Liu 11 jan 2017: Louwrien Wijers 18 jan 2017: Neuro Paste / Florian Cramer & Mariëtte Groot Alle geluidswerken worden na afloop van de serie gearchiveerd en nadien uitgebracht als multipel. Zo werd de eerste serie gereleased op een simkaart waarop een voorgeprogrammeerd nummer stond en genoeg beltegoed om alle uitzendingen opnieuw te beluisteren. Het archief van serie #2 en #3 zal in najaar 2016 verschijnen.  Radio Voicemail is ontstaan in 2012 als een project van Vloris Fisser en wordt mede mogelijk door de Worm Parallel University met een bijdrage van het Mondriaan Fonds en de Gemeente Rotterdam.  Voor meer informatie zie:  
Issue #009 Published: 29-09-2016 // Written by: Ana Barona
No means no
NO means NO! is a public discussion about sexual consent. With the Forum-Theatre play “NO means NO”, which explores the social construction of the idea of gender and this construction’s concrete consequences, Madalena-Berlin and intends to expand the public discussion around the current European discussion of: “women’s NO”. The laws about sexual consent vary by country and situation. It can make the topic confusing, that’s why Madalena-Berlin offers a space to sincerely question what NO really means. What does NO really mean? How does consent work in real life? What does “NO” look like?  How could we build a community where women feel safe and respected?  Performing group The performing team, Madalena-Berlin, is a female Theatre of the Oppressed group and collective of activists from KURINGA (Berlin), founded in 2011. With several Forum Theatre plays, the group stimulates public debates about the oppressions faced by women, and dynamizes the search for concrete alternatives to identify injustices. Madalena-Berlin is part of the Madalena International Network. Video: Madalena International Network.  Audience We would like to see in the audience women and men who wish to take a deeper look, discuss and find new concrete actions around the sexual violence against women and how to change laws to better protect them. >> Special call to women’s organizations, activists, policy makers and lawyers. <<  Methodology Forum Theatre is a short play which shows a certain complex situation that a certain group of people is dealing with. The audience becomes a so-called ‘spect-actor’ and each time a member of the audience thinks the protagonist should do something differently to reach her/his goal, is allowed to shout ‘Stop!’, in order to step forward and replace the protagonist to show what he/she would do in this situation to see what effect this could have on the outcome.  Legislative theatre is essentially a Forum Theatre performance — the public attends a Forum Theatre piece and, in addition to the usual participation at the Forum session, is invited to submit written suggestions for the creation, modification and/or cancellation of laws related with the topic represented on stage. Would you like to experience legislative theatre?  We will organise our first Forum Theatre play in Amsterdam this October: Here is the online invitation with all details - also in Dutch:  01-10-2016 in Amsterdam - Perdu, Kloveniersburgwal 86, 1012 CZ, Amsterdam 02-10-2016 in Rotterdam -  Rotterdams Wijktheater | Herenwaard 17, 3078 AK | Rotterdam Entrance fee Tickets are now available. The tickets will cover basic costs: transportation and venue costs. This performance is non-commercial. Normal entrance: €10 euros and we have also Sponsor entrance: €15.