From 20 June to 17 August, MAISON the FAUX presents THE TAIL, a performance installation that draws on Hans Christian Andersen’s The Little Mermaid to explore themes of transformation, and the sacrifices that are made in pursuit of one’s true identity. The work is developed in close collaboration with artists Diamanda Dramm, Dae Uk Kim, Anto López Espinosa, Oriana Ikomo, Bien De Moor and Luthfi Darwis.

THE TAIL challenges and expands the archetype of the mermaid to confront the complexities of selfhood and the desire for autonomy. It engages with and recontextualises the queer subtext woven through decades of reinterpretations of the mermaid figure over time, highlighting its potential as a symbol of personal transformation and self-empowerment.

Blending music, fashion, performance, scenography, video and visual art, THE TAIL creates an immersive, multi-disciplinary experience. Audiences are invited to become part of the narrative through live activations of its scenography. In collaboration with Framer Framed, a public programme will further create opportunities for communities to engage with, and reinterpret, its ideas.

THE TAIL begins with two live viewings at the Machinefabriek, home of NITE and Club Guy & Roni in Groningen, on 10 & 12 June, before traveling to Framer Framed in Amsterdam from 20 June to 17 August, including thirteen live performances.

MAISON the FAUX is ‘a creative studio posing as a grand couture fashion house’, investigating new forms of fashion through experience, interaction and performativity.

Opening
Register here for the opening on 20 June from 18:00 to 21:00.

Additional performances will take place on 25, 26, 27 and 28 June, and 2, 3, 4, 5, 9, 10, 11 and 12 July. Sign up here: https://framerframed.stager.co/web/tickets

Address: Oranje-Vrijstaatkade 71, 1093 KS, Amsterdam

The project is co-commissioned by Framer Framed and NITE, and co-produced by Framer Framed, NITE, and This is Not an Office.

Supported by: Ministry of Education, Culture and Science; Amsterdam Fund for the Arts; Municipality of Amsterdam; VriendenLoterij Fonds; het Cultuurfonds and Performing Arts Fund NL.

Photographer: Dion Bal
Light assistant: Eugene Berkovski
Talent: Adama
Make-up artist: Marly van den Bosch
Hair stylist: Eldrigde Mullenhof

THE TAIL by MAISON the FAUX

Join us at for the opening of the exhibition, Performing Colonial Toxicity by Samia Henni, in collaboration with If I Can't Dance...

About this Event


From 8 October 2023 to 14 January 2024, Framer Framed presents the exhibition Performing Colonial Toxicity by researcher and architectural historian Samia Henni, in collaboration with If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution. The project sheds light on the redacted history of French nuclear colonialism in the Algerian Sahara and draws attention to the urgency of reckoning with this history and its lived environmental and sociopolitical impacts.


Opening: Saturday 7 October, 18:00 - 20:00

Between 1960 and 1966, the French colonial regime detonated four atmospheric atomic bombs, thirteen underground nuclear bombs and conducted other nuclear experiments in the Algerian Sahara, whose natural resources were being extracted in the process. The resulting toxification of the Sahara spread radioactive fallout across Algeria, North, Central and West Africa, and the Mediterranean (including Southern Europe), causing irreversible and still ongoing contaminations of living bodies, cells and particles, as well as in the natural and built environments. Because the archives of the French nuclear programme remain closed over fifty years later, historical details and continuing impacts remain largely unknown.


Performing Colonial Toxicity presents available, offered, contraband and leaked materials from these archives in an immersive multimedia installation. It creates with them a series of seventeen audio-visual assemblages, which trace the spatial, atmospheric, and geological impacts of France’s atomic bombs in the Sahara, as well as its colonial vocabularies, and the (after)lives of its radioactive debris and nuclear waste. Taking on an architectural scale, these seventeen “stations”, as Henni refers to them, are meant to be moved through and engaged with. Visitors are invited in to draw their own connections between what is present in the installation, as well as what is absent from it.


The exhibition emerges from a broader research project, which also includes the publication Colonial Toxicity: Rehearsing French Nuclear Architecture and Landscape in the Sahara and an open access digital database entitled The Testimony Translation Project. Experimenting with different methods of spatialising and circulating suppressed information, the project’s three-part structure constitutes a powerful call to action to open the still-classified archives and to clean/decontaminate the sites: both crucial steps for exposing the pasts, presents and futures of colonial toxicity.



Photograph by Bruno Barrillot, the co-founder of the Observatoire des armements in Lyon, France. The images were taken during a visit to France's nuclear sites in Reggane and Ecker in the Algerian Sahara, with the filmmaker Larbi Benchiha and his team in November 2007. Courtesy

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(Text and image)
https://allevents.in/amsterdam/opening-performing-colonial-toxicity/10000708491104967?ref=cityhome

Opening: Performing Colonial Toxicity

Within the context of the exhibition Tanah Merdeka, Sophia Pekowsky and Ilya Genov will facilitate a lino print workshop at Framer Framed. On 12 August, 13:00-16:00, you are invited to reflect on the topics of transnational solidarity and land struggles addressed in the exhibition, while co-creating a lino print poster.

This event is free of charge and in English. Register via Eventbrite to join (capacity is limited). (https://www.eventbrite.nl/e/workshop-linocut-printmaking-tanah-merdeka-tickets-686578604087?aff=oddtdtcreator)

The workshop will guide participants through the process of printmaking by beginning with discussions on the topics explored in the current exhibition Tanah Merdeka (https://framerframed.nl/en/exposities/expositie-tanah-merdeka/). Sophia Pekowsky (https://framerframed.nl/en/mensen/sophia-pekowsky/) and Ilya Genov (https://framerframed.nl/mensen/ilya-genov/) will invite the participants to slowly delve into the topics addressed in the current exhibition. Led by discussion questions, the participants will be divided into small groups to have a conversation about their relationship with nature, land and transnational solidarity. This will inspire the participants to co-create a linocut poster where each participant will receive a piece of lino to work with that when puzzled together, will produce a collective poster formed from the shared knowledge of the group. Through this, participants will be introduced to the participatory artistic methods adopted by the collective in the current exhibition, Taring Padi.

All materials necessary for this workshop will be provided. We will also print on fabric. For this, participants are encouraged to bring clothing they would like to spruce up by printing on.

The exhibition Tanah Merdeka brings together works by the Indonesian art collective Taring Padi (https://framerframed.nl/mensen/taring-padi/) and various collaborators to reflect on the concept of land and its socio-political implications through a cross-cultural network of solidarity. Tanah Merdeka is presented by Framer Framed in partnership with Brazilian Jewish cultural centre Casa do Povo and Movimento dos Trabalhadores Rurais Sem Terra (MST).

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(Text and image)
https://amsterdamalternative.nl/agenda/14298/workshop-linocut-printmaking-tanah-merdeka

Workshop: Linocut Printmaking – Tanah Merdeka

Adam

Maggie

Christie

Eric

Anna

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As part of the Bread Art in the Molenwijk residency, the art collective Common Ground presents a two-day programme on 16 and 23 July at Werkplaats Molenwijk, delving into the sensory and political dimensions of bread through folklore, sculpting and storytelling.

In these hands-on workshops, participants explore the intimate, tactile connection between the body and dough, weaving in ancestral narratives and folkloric traditions. Bread is examined not only as a cultural artefact but also as a political symbol – carrying stories of survival, resistance, and dignity across time. The sessions will include sharing stories, kneading, sculpting, and reflecting – culminating in the collective baking of ‘bricks’ of bread.

Common Ground are one of the artists-in-residence as part of the Bread Art in the Molenwijk programme. From March to October, Werkplaats Molenwijk organises participatory workshops and festive activities about cultural rituals and creative traditions within the art of bread making, such as flour drawings, sculpting with dough and baking bread installations. Local residents are invited to share their bread stories with the Bread Atelier: a group of artists-in-residence who develop artistic bread activities in the neighbourhood. The results will be exhibited on 11 October in Werkplaats Molenwijk.

Common Ground

“We speak of bread as a living material. Dough comes to life when yeast feeds on sugars, releasing gas. It ferments, it breathes, just like us. In the oven, this living mass transforms into life-sustaining nourishment. And around the act of making bread, life unfolds.”

We invite you to gather with us, to remember our relationship to the land through living bread: the smell of dough, the heat of the oven, the scent of fresh bread, of mornings, of home.

Bread, in its simplicity, sits at the foundation of everything. Just flour, water, and salt. Yet it finds its way into all imaginable conversations: politics, weddings, popular culture, funerals, revolutions, and beyond. From its humble form as flatbread, “never simple, never unsophisticated,” to its metaphorical role as a building block, to its folkloric meaning as blessed bread.

🎨 Cultural

Shane Koppers

Framer Framed

Workshop in Werkplaats Molenwijk: Living Bread (عيش)

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THE TAIL by MAISON the FAUX

Opening: Performing Colonial Toxicity

Workshop: Linocut Printmaking – Tanah Merdeka

December