Melanie Bonajo

In her work, Melanie Bonajo examines the paradoxes inherent to ideas of comfort with a strong sense for community, equality, and body-politics. Through her videos, performances, photographs and installations, she studies subjects related to how technological advances and commodity-based pleasures increase feelings of alienation. Captivated by concepts of the divine, Bonajo explores the spiritual emptiness of her generation, examines peoples’ shifting relationship with nature and tries to understand existential questions by reflecting on our domestic situation, ideas around classification, concepts of home, gender and attitudes towards value.

Melanie Bonajo studied at the Gerrit Rietveld Academy and completed residencies at the Rijksakademie voor Beeldende Kunst in Amsterdam (2009-10) and at ISCP in New York (2014). Her work has been exhibited and performed in international art institutions and her films have been screened at numerous international festivals.

The video work ‘Night Soil -Economy of Love’ portrays a group of sex workers in Brooklyn who regard their work as a way for women to regain power in a male-dominated pleasure zone. Their mission is to transform sexual conventions and ideas about intimacy. The vivid images are accompanied by spoken text, an expression of Bonajo’s vision of contemporary spirituality and expectations about gender roles, with playful, sensual and feminist means. Power to the female body!

Melanie Bonajo is guest in the programme ‘Tools for engagement: Three stories about sex, rites and intimicy’ (part of Sex & the Sexual Politics of the Gaze).

Jaamil Olawale Kosoko

photo by Erik Carter

Jaamil Olawale Kosoko, originally from Detroit, MI, is a Nigerian-American curator, author, and performance artist. He is a 2017 Princeton Arts Fellow, a 2017 Jerome Artists in Residence at Abrons Arts Center, and a 2017 Cave Canem Poetry Fellow. His work has been presented throughout Europe and the United States. He has created original roles in the performance works of visual artist Nick Cave, Pig Iron Theatre Company, Keely Garfield Dance, Miguel Gutierrez and The Powerful People, Headlong Dance Theater, among others. Kosoko’s poems, interviews, and essays can be found published in The American Poetry Review, Poems Against War, The Dunes Review, Silo, Detroit Research v2, Dance Journal (PHL), the Broad Street Review (PHL), Movement Research Performance Journal, and Critical Correspondence (NYC).

Jaamil lectures, speaks, and performs internationally. His previous work #negrophobia has toured throughout Europe having appeared in major festivals including Moving in November (Finland), TakeMeSomewhere (UK), SICK! (UK), Tanz im August (Berlin), Oslo Internasjonale Teaterfestival (Norway), Zurich MOVES! (Switzerland), Beursschouwburg (Belgium) and Spielart Festival (Munich). Visit Jaamil.com or philadiction.org for more information.

Jaamil gives a lecture and workshop on 13 April 2018. Check Jaamil on video:

 

Fleur Hulleman

Fleur Hulleman is een materiaal/concept ontwerper. Ze maakt producten om dicht bij het lichaam te gebruiken. Je kunt het dragen of het is een interieur product waar je interactie mee wilt aan gaan. Ze werkt esthetisch en aantrekkelijk. Ze is gefascineerd door verhoudingen tussen kleur, materiaal, tactiliteit en de beleving die het met zich mee brengt. Wat voor effect heeft dit op een ruimte en toeschouwer?
In Januari 2017 is Hulleman afgestudeerd aan de Design Academy Eindhoven. Met haar project ‘Porn for the soul’ verleidt ze mensen om sexy fantasieën te vormen. Met dit werk geeft ze een nieuwe kijk op de porno industrie zoals we die kennen.

 

 

Liedeke Plate

Liedeke Plate is Associate Professor of gender studies and literary and cultural studies at the Institute for Gender Studies at Radboud University Nijmegen. She studied English and comparative literature at Utrecht University (NL), the University of Southampton (UK) and Indiana University (US), where she obtained her PhD in 1995. She wrote her dissertation on women’s rewritings of classic texts: Visions and Revisions: Female Authorship and the Act of Rewriting. She publishes internationally on the subject of women, reading and rewriting, the material turn in literary and cultural studies, cultural memory, and gender and urban space. Her current project explores literature as participatory culture, focusing on the social and material ‘things’ people do with great books.
Liedeke is guest in the programme ‘Tools for engagement: Three stories about sex, rites and intimicy’ (part of Sex & the Sexual Politics of the Gaze).

Hanne Lippard

Hanne Lippard’s practice explores the voice as a medium. Her education in graphic design informs how language can be visually powerful; her texts are visual, rhythmic, and performative rather than purely informative. Her work is conveyed through a variety of disciplines, which include short films, sound pieces, installations and performance.
Artist, curator and editor John Holten says about Lippard’s work:
‘Common sayings, turns of phrase, everyday chitchat become for her a repeated chorus rather than a coherent meaningful construction of words: with Lippard they become melodies in themselves. At times graphic, playful and intimate, this is an artist using language in all its forms in an effort to create an original aesthetic of the word.’

Hanne Lippard is guest in the programme ‘Tools for engagement: Feminism, the erotic view and the male gaze’ (part of SEX & the Sexual politics of  the gaze).

AnnaMaria Pinaka

AnnaMaria Pinaka is a visual artist working mainly in video, photography and performance. She was born in Thessaloniki, Greece. After studying artists’ video, film and photography in the UK, she completed her practice-led PhD, Porno-graphing: ‘dirty’ subjectivities & self-objectification in contemporary lens-based art at the Department of Theatre, Drama and Performance at Roehampton University in 2017. The focus of her work is sexualised representation, diarism, lack of spectacularisation and aesthetics of banality. Pinaka uses a visual language that borrows in part from the rhetorics of pornography, but which relate also to visual arts practices focused on the intimacy of private life, the domestic real, the lived ordinary, and the ecstasies of the everyday.

AnnaMaria Pinaka is guest in the programme ‘Tools for engagement: Feminism, the erotic view and the male gaze’ (part of SEX & the Sexual politics of  the gaze).

Emily Witt

Emily Witt is a writer in New York City. She is the author of Future Sex: A New Kind of Free Love (2016) and Nollywood: The Making of a Film Empire (2017). She has published essays, criticism, and reportage in The New Yorker, The New York Times, GQ, the London Review of Books, and many other places. She has degrees from Brown University, Columbia University Graduate School of Journalism, and Cambridge, and was a Fulbright scholar in Mozambique.

Emily is keynote speaker in programma ‘SEX & sexual politics of the gaze’

Jelko Arts

Jelko Arts tekent verhalen en beeldessays, schrijft proza en mengt literatuur met theater. Hij is oprichter van literair festival Boek op de Bank. Daarnaast is hij begeleider van Literaturjugend, de schrijfwerkplaats van De Nieuwe Oost (Wintertuin). Jelko stond als performer, presentator en interviewer op festivals als Zwarte Cross, Crossing Border, Nijmeegs Boekenfeest, Zomerparkfeest, Vierdaagsefeesten en het Wintertuinfestival. Hij werd geselecteerd voor het Slow Writing Lab, en zit in een talentontwikkeltraject van Productiehuis De Nieuwe Oost. In 2018 verschijnt daar zijn chapbook, een grafische novelle.
Jelko is gast in programma ‘Tools voor engagement: Drie verhalen over sex, rites en intimiteit’.

Jelko Arts draws stories and image essays , writes prose and mixes literature and theatre. He is the founder of the literary festival Boek op de Bank. He is also a tutor at Literaturjugend, the young writers’ workshop of De Nieuwe Oost (Wintertuin). Jelko was at festivals such as Zwarte Cross, Crossing Border, Nijmeegs Boekenfeest, Zomerparkfeest, Vierdaagse feesten and the Wintertuinfestival, as a performer, presenter and interviewer. He was selected to take part in the Slow Writing Lab of the Nederlands Letterenfonds and participates in a talent development programme of the Productiehuis De Nieuwe Oost. In 2018 they will publish his chapbook, a graphical novella.
Jelko is a guest in the ‘Tools for engagement programme : Three Stories about sex, rituals and intimacy.’

foto: Gaby Jongenelen Fotografie

Igor Vrebac

 

De Bosnisch-Nederlandse Igor Vrebac is opgeleid tot mimespeler, maar gooit hoge ogen als beginnende theatermaker. In zijn werk onderzoekt Igor onderzoekt de clichés rondom gender door zich af te vragen in hoeverre wij onze waarneming van identiteit kunnen transformeren. Met zijn regiedebuut Macho Macho (2016) won hij de Dioraphte ‘Best of Amsterdam Fringe’ award. Voor deze voorstelling heeft Vrebac zich laten inspireren door Instagram selfies, Turks worstelen en het idee van bromance. Om te onderzoeken wat mannelijkheid eigenlijk is. In 2017 maakte hij TRÆNS, een sexy ritueel om het mannelijke en vrouwelijke bloot te leggen. In najaar 2018 staat een nieuwe productie in de planning als onderdeel van zijn maakambities met artistieke partner en productiehuis De Nieuwe Oost in Arnhem.

Igor is gast in het programma ‘Tools voor engagement: Drie verhalen over sex, rites en intimiteit’.

Igor Vrebacs is Bosnian and Dutch and was trained as a mime player, but he is now doing very well as a budding theater maker. In his work he explores the clichés around gender by wondering to what extent we can transform our perception of identity. With his directorial debut Macho Macho (2016) he won the Dioraphte ‘Best of Amsterdam Fringe’ award. For this performance Vrebac took inspiration from Instagram selfies, Turkish wrestling and the idea of bromance, to explore the essence of masculinity. In 2017 he made TRAENS, a sexy ritual to identify masculinity and femininity. He plans to make a new production in autumn 2018 as part of his production ambitions with artistic partner and production house De Nieuwe Oost in Arnhem.
Igor is a guest in the ‘Tools for engagement programme : Three Stories about sex, rituals and intimacy.’

(foto: posterbeeld Treans door Menno van der Meulen)

 

 

Isis Germano

Isis Germano schrijft, denkt en doet onderzoek. Ze hanteert graag powertools maar blinkt er niet in uit. Men vermoedt  dat het haar meer gaat om de esthetische impact van het vasthouden van een klopboor dan om het klussen. Haar benadering van breien is zowel continentaal als Anglosaksisch, waardoor ze probleemloos meerdere kleuren wol binnen een project kan mengen. Dezelfde flexibiliteit kenmerkt haar onderzoek, waarin theaterwetenschap, visuele theorie, genderstudies en cognitieve wetenschap samenkomen om te analyseren hoe wij ‘Het Kind’ verbeelden, in theater en daar voorbij. Isis benadert de blik van de toeschouwer op het kind als belichaamd, relationeel en actief om te begrijpen hoe de manier waarop wij kijken naar kinderen samenhangt met cultureel specifieke ideeën over volwassenheid: over wie we zelf zijn.

Haar thesis Between Stage, Brain and Body: Using Cognitive Science to Flesh Out the Embodied Act of Looking won de eerste prijs voor de beste academische scriptie en de eerste prijs voor de beste theaterwetenschappelijke scriptie in Nederland en Vlaanderen. Als ze geen onderzoek doet geeft ze les in dramaturgie, media en cultuurstudies, genderstudies, kunstbeschouwing en soms iets heel anders. In de zomer verdwijnt ze naar een plek in het bos waar ze workshops creatief schrijven en theater geeft. Isis is gast in programma ‘Tools voor engagement: Drie verhalen over sex, rites en intimiteit’.

Isis Germano is a writer, a thinker and a researcher. She likes using power tools, but does not excel at it. Presumably she is more interested in the aesthetic impact of wielding an impact drill than in the actual DIY. Her approach to knitting is both continental and Anglo-Saxon, allowing her to easily combine several colours of wool in a project. The same typical flexibility can be seen in her research, that combines theatre studies, visual theory, gender studies and cognitive science to analyse how we represent ‘The Child’, in the theatre and beyond. Isis approaches the spectator’s view of the child as embodied, relational and active in order to understand how the way we look at children is connected with culturally determined ideas about adulthood: about who we are ourselves.
Isis’ master thesis entitled Between Stage, Brain and Body: Using Cognitive Science to Flesh Out the Embodied Act of Looking won the first prize for the best academic thesis and the first prize for the best thesis in theatre studies in The Netherlands and Flanders. When she is not doing research, she is teaching dramaturgy, media studies and cultural studies, gender studies, art criticism and sometimes even something completely different. In the summer she disappears to a place in the woods where she gives workshops in creative writing and theatre. Isis is a guest in the ‘Tools for engagement programme: Three stories about sex, rituals and intimacy’.