2024
web based installation
archival 16mm footage and magnetic tape
shown at: RFN (Madrid), EYE Filmmuseum, Amsterdam Museum, Stevenson Gallery
hetvrijearchief.net is a collaboration between Luna Hupperetz and Kenneth Geurts. The Vrije Archief Nieuwmarkt is an autonomous archive that documents the activism of the Aktiegroep Nieuwmarkt (1967-1976) against Amsterdam’s post war city planning. The audiovisual collection of Vrije Archief Nieuwmarkt consists of sound and image recordings, the unsynchronised footage is currently housed in the archives of IISH (audio) and Sound & Vision (film). The collection’s Creative Commons status, and the platforms of the institutional archives invite creators and researchers to engage with the material, yet constraints of archival access make accessibility opaque. Unlike textual materials, the transition of visual content into the public domain remains imperfect, demanding critical observation. In response, the web based installation hetvrijearchief.net advocates for squatting the archive. Through a dynamic shuffle of image and sound snippets, it aims to embrace the archive’s dispersion and accentuate re-appropriation possibilities by inviting the audience to create their own assemblages of unsynchronised archival material. Seeking to transcend traditional audiovisual frameworks, it poses a question: how can these methods resonate with the practice of squatting and image appropriation? Moreover, it endeavours to bridge generational gaps, inviting reflection on communal resistance and housing crises in a contemporary context.
cows after all
2023
eco processed 16mm film
shown at: Porto/Post/Doc Film Festival
Cows After All is a 16mm work about ephemerality. It’s an experimental assemblage of images that culminates in a looped shot which ultimately destroys itself. The film is projected directly from a 16mm reel: through the physical manipulation of the film reel, the piece gradually throws itself off the projector during the final, repeating frames—enacting a form of self-destruction until it is reloaded.
The film was made in a week during the Casa Do Xisto residency (Porto, Portugal). The 16mm film was developed using a non-toxic processing method that involves instant coffee, mint, and other natural ingredients.
Faced with clear time constraints, Casa do Xisto’s focus on eco-friendly film development immediately evoked ideas of ephemerality for me—especially in contrast to the traditionally harsh chemical developing process of film. The soundtrack of the work is an altered loop of a field recording from my personal archive, which was recontexualised for this work. The field recording was recorded in Croatia during a period in which I was personally grappling with themes of impermanence.
tracing new amsterdam
2023
multimedia installation
faux beaver fur, 16mm film, archival collage printed on nylon mesh
shown at: de Appel (Amsterdam), Anthology Film Archives (NYC), MoMA Cinema (NYC)
Tracing New Amsterdam is the result of an eight month research project in the archives of New York (city & state), in which I traced the rise of global capitalism by delineating a map between two junctures: Amsterdam as the 17th century centre of capitalism, and New York City as its contemporary counterpart – with the colonisation of New Amsterdam as the stitching of this map. The video work examines Pearl Street in the Financial District of Manhattan, which follows the original shoreline of the island Manhattan, before it was moved outward through landfill in the 18th century. The work on fabric is an exploration of Joseph Pensa de la Vega’s Confusion of confusions (1688) – the first work written on the stock market. In which de la Vega makes extensive use of metaphors and allegories to illustrate the labyrinth like nature of the trade of shares as it occurred in Amsterdam at the time.
2024
web based installation
archival 16mm footage and magnetic tape
shown at: RFN (Madrid), EYE Filmmuseum, Amsterdam Museum, Stevenson Gallery
hetvrijearchief.net is a collaboration between Luna Hupperetz and Kenneth Geurts. The Vrije Archief Nieuwmarkt is an autonomous archive that documents the activism of the Aktiegroep Nieuwmarkt (1967-1976) against Amsterdam’s post war city planning. The audiovisual collection of Vrije Archief Nieuwmarkt consists of sound and image recordings, the unsynchronised footage is currently housed in the archives of IISH (audio) and Sound & Vision (film). The collection’s Creative Commons status, and the platforms of the institutional archives invite creators and researchers to engage with the material, yet constraints of archival access make accessibility opaque. Unlike textual materials, the transition of visual content into the public domain remains imperfect, demanding critical observation. In response, the web based installation hetvrijearchief.net advocates for squatting the archive. Through a dynamic shuffle of image and sound snippets, it aims to embrace the archive’s dispersion and accentuate re-appropriation possibilities by inviting the audience to create their own assemblages of unsynchronised archival material. Seeking to transcend traditional audiovisual frameworks, it poses a question: how can these methods resonate with the practice of squatting and image appropriation? Moreover, it endeavours to bridge generational gaps, inviting reflection on communal resistance and housing crises in a contemporary context.
cows after all
2023
eco processed 16mm film
shown at: Porto/Post/
Doc Film Festival
Cows After All is a 16mm work about ephemerality. It’s an experimental assemblage of images that culminates in a looped shot which ultimately destroys itself. The film is projected directly from a 16mm reel: through the physical manipulation of the film reel, the piece gradually throws itself off the projector during the final, repeating frames—enacting a form of self-destruction until it is reloaded.
The film was made in a week during the Casa Do Xisto residency (Porto, Portugal). The 16mm film was developed using a non-toxic processing method that involves instant coffee, mint, and other natural ingredients.
Faced with clear time constraints, Casa do Xisto’s focus on eco-friendly film development immediately evoked ideas of ephemerality for me—especially in contrast to the traditionally harsh chemical developing process of film. The soundtrack of the work is an altered loop of a field recording from my personal archive, which was recontexualised for this work. The field recording was recorded in Croatia during a period in which I was personally grappling with themes of impermanence.
tracing new amsterdam
2023
multimedia installation
faux beaver fur, 16mm film, archival collage printed on nylon mesh
shown at: de Appel (Amsterdam), Anthology Film Archives (NYC), MoMA Cinema (NYC)
Tracing New Amsterdam is the result of an eight month research project in the archives of New York (city & state), in which I traced the rise of global capitalism by delineating a map between two junctures: Amsterdam as the 17th century centre of capitalism, and New York City as its contemporary counterpart – with the colonisation of New Amsterdam as the stitching of this map. The video work examines Pearl Street in the Financial District of Manhattan, which follows the original shoreline of the island Manhattan, before it was moved outward through landfill in the 18th century. The work on fabric is an exploration of Joseph Pensa de la Vega’s Confusion of confusions (1688) – the first work written on the stock market. In which de la Vega makes extensive use of metaphors and allegories to illustrate the labyrinth like nature of the trade of shares as it occurred in Amsterdam at the time.
yada yada lorum ipsum
Following precedent for such occasions, neither Stuyvesant nor Nicolls was present for the meeting that then took place, but each had chosen a slate of commissioners to negotiate the transfer of the colony. Stuyvesant's included four Dutchmen, one Englishman, and one Frenchman; Nicolls's representatives were two of his aides and four New Englanders, including John Winthrop.
Then, as all attention shifted to the waterfront, where Nicolls and his main body of troops was coming ashore, a small party of English soldiers entered the deserted fort. Outside, the harbor winds were swirling around the interested throng of mixed nationalities who watched as an English flag went up the flagpole and listened as Nicolls declared the place renamed for his patron, the Duke of York and Albany. Inside the fort, meanwhile, a few soldiers climbed to the office of the colonial secretary, above the gate. In any Change of government, gaining possession of the records is among the first steps, for to control a society's vital documents is to control its past and fu-ture. The soldiers found what they were looking for: rows of bulky leather-bound volumes, forty-eight in all, numbered consecutively on their spines, A to Z and then AA through PP. Wills, deeds, minutes, correspondence, complaints, petitions, confrontations, agreements- it was all here, meticulously maintained, year by year, day by day, the story of America's first mixed society.
Then, as all attention shifted to the waterfront, where Nicolls and his main body of troops was coming ashore, a small party of English soldiers entered the deserted fort. Outside, the harbor winds were swirling around the interested throng of mixed nationalities who watched as an English flag went up the flagpole and listened as Nicolls declared the place renamed for his patron, the Duke of York and Albany. Inside the fort, meanwhile, a few soldiers climbed to the office of the colonial secretary, above the gate. In any Change of government, gaining possession of the records is among the first steps, for to control a society's vital documents is to control its past and fu-ture. The soldiers found what they were looking for: rows of bulky leather-bound volumes, forty-eight in all, numbered consecutively on their spines, A to Z and then AA through PP. Wills, deeds, minutes, correspondence, complaints, petitions, confrontations, agreements- it was all here, meticulously maintained, year by year, day by day, the story of America's first mixed society.
Then, as all attention shifted to the waterfront, where Nicolls and his main body of troops was coming ashore, a small party of English soldiers entered the deserted fort. Outside, the harbor winds were swirling around the interested throng of mixed nationalities who watched as an English flag went up the flagpole and listened as Nicolls declared the place renamed for his patron, the Duke of York and Albany. Inside the fort, meanwhile, a few soldiers climbed to the office of the colonial secretary, above the gate. In any Change of government, gaining possession of the records is among the first steps, for to control a society's vital documents is to control its past and fu-ture. The soldiers found what they were looking for: rows of bulky leather-bound volumes, forty-eight in all, numbered consecutively on their spines, A to Z and then AA through PP. Wills, deeds, minutes, correspondence, complaints, petitions, confrontations, agreements- it was all here, meticulously maintained, year by year, day by day, the story of America's first mixed society.
And so they did. The fifteen hundred residents of New Amsterdam, the ten thousand inhabitants of the colony of New Netherland, turned their backs on the company that had long ignored them. Griet Reyniers, onetime Amsterdam barmaid who became Manhattan's first prostitute, abandoned it. So did her husband, Anthony "the Turk" van Salee, the half-Morroccan former pirate. They were now wealthy landowners on Long Island, and their four daughters were married to some of New Amsterdam's up-and-coming businessmen. Joris Rapalje, who with his bride Catalina Trico com-pised the Adam and Eve of the colony had reemdy died, but Catalina ma shitery nuch alive as werehergrown dild ren and ten families and g so, preferred to acquiesce rather than die. The same went for Aser lon, the Polish, Jew who had batled Suvesant over the rights of Jews, and noy, owned Manhattan's first kosher butcher shop, and for Manuel "the Giane Gerrit, the African who had escaped hanging in 1641 and who for the par five years had been living as a free landowner on a small farm near Stuyvesant's bouverie. For all of these people, living peaceably under an English prince who promised to continue the way of life they had fashioned was patently better than fighting and dying.
And so he relented. "I would much rather be carried out dead," he said, and surely everyone believed him, but instead he named six men to meet with their English counterparts and negotiate terms. They met at Stuyvesant's farm. And the next Monday, at eight in the morning, Stuyvesant, fifty-four-years-old, thick of build, with his cuirass and his limp and his small, bold eyes, led a military procession out of the fort, with drummers drumming and flags waving.
And so they did. The fifteen hundred residents of New Amsterdam, the ten thousand inhabitants of the colony of New Netherland, turned their backs on the company that had long ignored them. Griet Reyniers, onetime Amsterdam barmaid who became Manhattan's first prostitute, abandoned it. So did her husband, Anthony "the Turk" van Salee, the half-Morroccan former pirate. They were now wealthy landowners on Long Island, and their four daughters were married to some of New Amsterdam's up-and-coming businessmen. Joris Rapalje, who with his bride Catalina Trico com-pised the Adam and Eve of the colony had reemdy died, but Catalina ma shitery nuch alive as werehergrown dild ren and ten families and g so, preferred to acquiesce rather than die. The same went for Aser lon, the Polish, Jew who had batled Suvesant over the rights of Jews, and noy, owned Manhattan's first kosher butcher shop, and for Manuel "the Giane Gerrit, the African who had escaped hanging in 1641 and who for the par five years had been living as a free landowner on a small farm near Stuyvesant's bouverie. For all of these people, living peaceably under an English prince who promised to continue the way of life they had fashioned was patently better than fighting and dying.
And so he relented. "I would much rather be carried out dead," he said, and surely everyone believed him, but instead he named six men to meet with their English counterparts and negotiate terms. They met at Stuyvesant's farm. And the next Monday, at eight in the morning, Stuyvesant, fifty-four-years-old, thick of build, with his cuirass and his limp and his small, bold eyes, led a military procession out of the fort, with drummers drumming and flags waving.
And so they did. The fifteen hundred residents of New Amsterdam, the ten thousand inhabitants of the colony of New Netherland, turned their backs on the company that had long ignored them. Griet Reyniers, onetime Amsterdam barmaid who became Manhattan's first prostitute, abandoned it. So did her husband, Anthony "the Turk" van Salee, the half-Morroccan former pirate. They were now wealthy landowners on Long Island, and their four daughters were married to some of New Amsterdam's up-and-coming businessmen. Joris Rapalje, who with his bride Catalina Trico com-pised the Adam and Eve of the colony had reemdy died, but Catalina ma shitery nuch alive as werehergrown dild ren and ten families and g so, preferred to acquiesce rather than die. The same went for Aser lon, the Polish, Jew who had batled Suvesant over the rights of Jews, and noy, owned Manhattan's first kosher butcher shop, and for Manuel "the Giane Gerrit, the African who had escaped hanging in 1641 and who for the par five years had been living as a free landowner on a small farm near Stuyvesant's bouverie. For all of these people, living peaceably under an English prince who promised to continue the way of life they had fashioned was patently better than fighting and dying.
And so he relented. "I would much rather be carried out dead," he said, and surely everyone believed him, but instead he named six men to meet with their English counterparts and negotiate terms. They met at Stuyvesant's farm. And the next Monday, at eight in the morning, Stuyvesant, fifty-four-years-old, thick of build, with his cuirass and his limp and his small, bold eyes, led a military procession out of the fort, with drummers drumming and flags waving.
And so they did. The fifteen hundred residents of New Amsterdam, the ten thousand inhabitants of the colony of New Netherland, turned their backs on the company that had long ignored them. Griet Reyniers, onetime Amsterdam barmaid who became Manhattan's first prostitute, abandoned it. So did her husband, Anthony "the Turk" van Salee, the half-Morroccan former pirate. They were now wealthy landowners on Long Island, and their four daughters were married to some of New Amsterdam's up-and-coming businessmen. Joris Rapalje, who with his bride Catalina Trico com-pised the Adam and Eve of the colony had reemdy died, but Catalina ma shitery nuch alive as werehergrown dild ren and ten families and g so, preferred to acquiesce rather than die. The same went for Aser lon, the Polish, Jew who had batled Suvesant over the rights of Jews, and noy, owned Manhattan's first kosher butcher shop, and for Manuel "the Giane Gerrit, the African who had escaped hanging in 1641 and who for the par five years had been living as a free landowner on a small farm near Stuyvesant's bouverie. For all of these people, living peaceably under an English prince who promised to continue the way of life they had fashioned was patently better than fighting and dying.
And so he relented. "I would much rather be carried out dead," he said, and surely everyone believed him, but instead he named six men to meet with their English counterparts and negotiate terms. They met at Stuyvesant's farm. And the next Monday, at eight in the morning, Stuyvesant, fifty-four-years-old, thick of build, with his cuirass and his limp and his small, bold eyes, led a military procession out of the fort, with drummers drumming and flags waving.
And so they did. The fifteen hundred residents of New Amsterdam, the ten thousand inhabitants of the colony of New Netherland, turned their backs on the company that had long ignored them. Griet Reyniers, onetime Amsterdam barmaid who became Manhattan's first prostitute, abandoned it. So did her husband, Anthony "the Turk" van Salee, the half-Morroccan former pirate. They were now wealthy landowners on Long Island, and their four daughters were married to some of New Amsterdam's up-and-coming businessmen. Joris Rapalje, who with his bride Catalina Trico com-pised the Adam and Eve of the colony had reemdy died, but Catalina ma shitery nuch alive as werehergrown dild ren and ten families and g so, preferred to acquiesce rather than die. The same went for Aser lon, the Polish, Jew who had batled Suvesant over the rights of Jews, and noy, owned Manhattan's first kosher butcher shop, and for Manuel "the Giane Gerrit, the African who had escaped hanging in 1641 and who for the par five years had been living as a free landowner on a small farm near Stuyvesant's bouverie. For all of these people, living peaceably under an English prince who promised to continue the way of life they had fashioned was patently better than fighting and dying.
And so he relented. "I would much rather be carried out dead," he said, and surely everyone believed him, but instead he named six men to meet with their English counterparts and negotiate terms. They met at Stuyvesant's farm. And the next Monday, at eight in the morning, Stuyvesant, fifty-four-years-old, thick of build, with his cuirass and his limp and his small, bold eyes, led a military procession out of the fort, with drummers drumming and flags waving.
yada yada lorum ipsum
Following precedent for such occasions, neither Stuyvesant nor Nicolls was present for the meeting that then took place, but each had chosen a slate of commissioners to negotiate the transfer of the colony. Stuyvesant's included four Dutchmen, one Englishman, and one Frenchman; Nicolls's representatives were two of his aides and four New Englanders, including John Winthrop.
Then, as all attention shifted to the waterfront, where Nicolls and his main body of troops was coming ashore, a small party of English soldiers entered the deserted fort. Outside, the harbor winds were swirling around the interested throng of mixed nationalities who watched as an English flag went up the flagpole and listened as Nicolls declared the place renamed for his patron, the Duke of York and Albany. Inside the fort, meanwhile, a few soldiers climbed to the office of the colonial secretary, above the gate. In any Change of government, gaining possession of the records is among the first steps, for to control a society's vital documents is to control its past and fu-ture. The soldiers found what they were looking for: rows of bulky leather-bound volumes, forty-eight in all, numbered consecutively on their spines, A to Z and then AA through PP. Wills, deeds, minutes, correspondence, complaints, petitions, confrontations, agreements- it was all here, meticulously maintained, year by year, day by day, the story of America's first mixed society.
Then, as all attention shifted to the waterfront, where Nicolls and his main body of troops was coming ashore, a small party of English soldiers entered the deserted fort. Outside, the harbor winds were swirling around the interested throng of mixed nationalities who watched as an English flag went up the flagpole and listened as Nicolls declared the place renamed for his patron, the Duke of York and Albany. Inside the fort, meanwhile, a few soldiers climbed to the office of the colonial secretary, above the gate. In any Change of government, gaining possession of the records is among the first steps, for to control a society's vital documents is to control its past and fu-ture. The soldiers found what they were looking for: rows of bulky leather-bound volumes, forty-eight in all, numbered consecutively on their spines, A to Z and then AA through PP. Wills, deeds, minutes, correspondence, complaints, petitions, confrontations, agreements- it was all here, meticulously maintained, year by year, day by day, the story of America's first mixed society.
Then, as all attention shifted to the waterfront, where Nicolls and his main body of troops was coming ashore, a small party of English soldiers entered the deserted fort. Outside, the harbor winds were swirling around the interested throng of mixed nationalities who watched as an English flag went up the flagpole and listened as Nicolls declared the place renamed for his patron, the Duke of York and Albany. Inside the fort, meanwhile, a few soldiers climbed to the office of the colonial secretary, above the gate. In any Change of government, gaining possession of the records is among the first steps, for to control a society's vital documents is to control its past and fu-ture. The soldiers found what they were looking for: rows of bulky leather-bound volumes, forty-eight in all, numbered consecutively on their spines, A to Z and then AA through PP. Wills, deeds, minutes, correspondence, complaints, petitions, confrontations, agreements- it was all here, meticulously maintained, year by year, day by day, the story of America's first mixed society.
And so they did. The fifteen hundred residents of New Amsterdam, the ten thousand inhabitants of the colony of New Netherland, turned their backs on the company that had long ignored them. Griet Reyniers, onetime Amsterdam barmaid who became Manhattan's first prostitute, abandoned it. So did her husband, Anthony "the Turk" van Salee, the half-Morroccan former pirate. They were now wealthy landowners on Long Island, and their four daughters were married to some of New Amsterdam's up-and-coming businessmen. Joris Rapalje, who with his bride Catalina Trico com-pised the Adam and Eve of the colony had reemdy died, but Catalina ma shitery nuch alive as werehergrown dild ren and ten families and g so, preferred to acquiesce rather than die. The same went for Aser lon, the Polish, Jew who had batled Suvesant over the rights of Jews, and noy, owned Manhattan's first kosher butcher shop, and for Manuel "the Giane Gerrit, the African who had escaped hanging in 1641 and who for the par five years had been living as a free landowner on a small farm near Stuyvesant's bouverie. For all of these people, living peaceably under an English prince who promised to continue the way of life they had fashioned was patently better than fighting and dying.
And so he relented. "I would much rather be carried out dead," he said, and surely everyone believed him, but instead he named six men to meet with their English counterparts and negotiate terms. They met at Stuyvesant's farm. And the next Monday, at eight in the morning, Stuyvesant, fifty-four-years-old, thick of build, with his cuirass and his limp and his small, bold eyes, led a military procession out of the fort, with drummers drumming and flags waving.
And so they did. The fifteen hundred residents of New Amsterdam, the ten thousand inhabitants of the colony of New Netherland, turned their backs on the company that had long ignored them. Griet Reyniers, onetime Amsterdam barmaid who became Manhattan's first prostitute, abandoned it. So did her husband, Anthony "the Turk" van Salee, the half-Morroccan former pirate. They were now wealthy landowners on Long Island, and their four daughters were married to some of New Amsterdam's up-and-coming businessmen. Joris Rapalje, who with his bride Catalina Trico com-pised the Adam and Eve of the colony had reemdy died, but Catalina ma shitery nuch alive as werehergrown dild ren and ten families and g so, preferred to acquiesce rather than die. The same went for Aser lon, the Polish, Jew who had batled Suvesant over the rights of Jews, and noy, owned Manhattan's first kosher butcher shop, and for Manuel "the Giane Gerrit, the African who had escaped hanging in 1641 and who for the par five years had been living as a free landowner on a small farm near Stuyvesant's bouverie. For all of these people, living peaceably under an English prince who promised to continue the way of life they had fashioned was patently better than fighting and dying.
And so he relented. "I would much rather be carried out dead," he said, and surely everyone believed him, but instead he named six men to meet with their English counterparts and negotiate terms. They met at Stuyvesant's farm. And the next Monday, at eight in the morning, Stuyvesant, fifty-four-years-old, thick of build, with his cuirass and his limp and his small, bold eyes, led a military procession out of the fort, with drummers drumming and flags waving.
And so they did. The fifteen hundred residents of New Amsterdam, the ten thousand inhabitants of the colony of New Netherland, turned their backs on the company that had long ignored them. Griet Reyniers, onetime Amsterdam barmaid who became Manhattan's first prostitute, abandoned it. So did her husband, Anthony "the Turk" van Salee, the half-Morroccan former pirate. They were now wealthy landowners on Long Island, and their four daughters were married to some of New Amsterdam's up-and-coming businessmen. Joris Rapalje, who with his bride Catalina Trico com-pised the Adam and Eve of the colony had reemdy died, but Catalina ma shitery nuch alive as werehergrown dild ren and ten families and g so, preferred to acquiesce rather than die. The same went for Aser lon, the Polish, Jew who had batled Suvesant over the rights of Jews, and noy, owned Manhattan's first kosher butcher shop, and for Manuel "the Giane Gerrit, the African who had escaped hanging in 1641 and who for the par five years had been living as a free landowner on a small farm near Stuyvesant's bouverie. For all of these people, living peaceably under an English prince who promised to continue the way of life they had fashioned was patently better than fighting and dying.
And so he relented. "I would much rather be carried out dead," he said, and surely everyone believed him, but instead he named six men to meet with their English counterparts and negotiate terms. They met at Stuyvesant's farm. And the next Monday, at eight in the morning, Stuyvesant, fifty-four-years-old, thick of build, with his cuirass and his limp and his small, bold eyes, led a military procession out of the fort, with drummers drumming and flags waving.
And so they did. The fifteen hundred residents of New Amsterdam, the ten thousand inhabitants of the colony of New Netherland, turned their backs on the company that had long ignored them. Griet Reyniers, onetime Amsterdam barmaid who became Manhattan's first prostitute, abandoned it. So did her husband, Anthony "the Turk" van Salee, the half-Morroccan former pirate. They were now wealthy landowners on Long Island, and their four daughters were married to some of New Amsterdam's up-and-coming businessmen. Joris Rapalje, who with his bride Catalina Trico com-pised the Adam and Eve of the colony had reemdy died, but Catalina ma shitery nuch alive as werehergrown dild ren and ten families and g so, preferred to acquiesce rather than die. The same went for Aser lon, the Polish, Jew who had batled Suvesant over the rights of Jews, and noy, owned Manhattan's first kosher butcher shop, and for Manuel "the Giane Gerrit, the African who had escaped hanging in 1641 and who for the par five years had been living as a free landowner on a small farm near Stuyvesant's bouverie. For all of these people, living peaceably under an English prince who promised to continue the way of life they had fashioned was patently better than fighting and dying.
And so he relented. "I would much rather be carried out dead," he said, and surely everyone believed him, but instead he named six men to meet with their English counterparts and negotiate terms. They met at Stuyvesant's farm. And the next Monday, at eight in the morning, Stuyvesant, fifty-four-years-old, thick of build, with his cuirass and his limp and his small, bold eyes, led a military procession out of the fort, with drummers drumming and flags waving.
And so they did. The fifteen hundred residents of New Amsterdam, the ten thousand inhabitants of the colony of New Netherland, turned their backs on the company that had long ignored them. Griet Reyniers, onetime Amsterdam barmaid who became Manhattan's first prostitute, abandoned it. So did her husband, Anthony "the Turk" van Salee, the half-Morroccan former pirate. They were now wealthy landowners on Long Island, and their four daughters were married to some of New Amsterdam's up-and-coming businessmen. Joris Rapalje, who with his bride Catalina Trico com-pised the Adam and Eve of the colony had reemdy died, but Catalina ma shitery nuch alive as werehergrown dild ren and ten families and g so, preferred to acquiesce rather than die. The same went for Aser lon, the Polish, Jew who had batled Suvesant over the rights of Jews, and noy, owned Manhattan's first kosher butcher shop, and for Manuel "the Giane Gerrit, the African who had escaped hanging in 1641 and who for the par five years had been living as a free landowner on a small farm near Stuyvesant's bouverie. For all of these people, living peaceably under an English prince who promised to continue the way of life they had fashioned was patently better than fighting and dying.
And so he relented. "I would much rather be carried out dead," he said, and surely everyone believed him, but instead he named six men to meet with their English counterparts and negotiate terms. They met at Stuyvesant's farm. And the next Monday, at eight in the morning, Stuyvesant, fifty-four-years-old, thick of build, with his cuirass and his limp and his small, bold eyes, led a military procession out of the fort, with drummers drumming and flags waving.
kenneth geurts (1996) is an artist that works through the media of analog film and graphic design. He specializes in 16mm film, publication design and title design. Currently he is based between Amsterdam and New York City.
Instagram: @Ikkenneth, Email: kennethqgeurts@gmail.com
professional experience
2024 - current Assistant. Mono No Aware
2023 - current Production. IDFA
2022 - current Graphic Designer. Simulacrum Magazine
2020 - 2022 Editor & Treasurer. Simulacrum Magazine
2020 - 2022 Head of Graphic Design. Filmtheater Kriterion
2019 - 2020 General employee. Mediamatic
2018 - 2022 Graphic Designer. Filmtheater Kriterion
2018 - 2020 Head of Special Programming. Filmtheater Kriterion
2018 - 2020 Head Assistant. Serieuze Zaken by Rob Malasch
2016 - 2018 Programme Curator & Treasurer. Kanvas
education
2020 - 2023 rMA Artistic Research. University of Amsterdam
2015 - 2018 BA Art History. University of Amsterdam
2014 - 2015 Propedeuse Media Studies. University of Amsterdam
work has been supported by:
DutchCulture, Netherland-American Foundation, Cultuurfonds, Het Nederlandse Filmfonds, Hendrik Muller fonds, de Fundatie van Renswoude, het Horizonfonds, het Bekker-la Bastide Fonds, ASC Academy, Amsterdamse Universiteitsfonds
(selected) research projects, exhibtions, events, etc.
January 2025 Artist. Filmmakers’ Night – Episode #0, Filmhuis Cavia, Amsterdam, NL
November 2024 Artist, Speaker. Museumnacht, Museum Willet-Holthuysen, Amsterdam, NL
October 2024 Visual Researcher, Designer. Filmfonds application for Ena Sendijarević's 'The Possessed'
July 2024 Artist. Mono No Aware selections screening. Anthology Film Archives, New York City, US
June 2024 Artist, Speaker. Radical Film Network, La Corrala, Universidad Autónoma de Madrid, Madrid, ES
June 2024 Artist. Nieuwe Nieuwsmarkt #1 Launch. San Serriffe. Amsterdam, NL
May 2024 Artist, Speaker. Eye International Conference, Eye Filmmuseum, Amsterdam, NL
May 2024 Artist. [In]Transitation Journal, Online.
May 2024 Producer for Molly Scotti's short film 'A Tavola' (executive produced by Isabella Rossellini).
February 2024 Artist. Can't We All Just Get Along. Stevenson Gallery, Amsterdam, NL
November 2023 Artist. Porto Post Doc. Porto, Portugal
September 2023 Artist. Casa do Xisto Residency. Porto, Portugal
June 2023 Artist. Mono No Aware Selections Screening. MoMa. New York, US
June 2023 Artist. A seat for A table, A sun for the sky exhibition. de Appel. Amsterdam, NL
May 2023 Artist. Mono No Aware Selections screening. Anthology Film Archives. New York, US
May 2023 Curator. Blossom/Bloesom exhibition (group). Roehouse. New York, US
December 2022 Curator. Fertile Grounds exhibition (group). Roehouse. New York, US
December 2022 Speaker. Transoceanic Memories: Disaster Haggyo presentation. Framer Framed. Amsterdam, NL
November 2022 - February 2023 Artist. Art of the Football Scarf (group). OOF Gallery. London, UK
October 2022 Speaker. The documenta issue launch event. Motto Books, Berlin. Germany
August 2022 Artist, Researcher. Disaster Haggyo #1. Framer Framed & KAIST, Daejeon, Jeju. South Korea
July 2022 Curator. Simulacrum het Reflectienummer Launch. BG2 + Filmtheater de Uitkijk, Amsterdam. NL
June 2022 Artist, Researcher. Swarmcast (collaboration). Machinic Cultures Symposium, Leiden. NL + digital
April 2022 Curator. Simulacrum Dirt Launch. Botanische Tuin Zuidas + Filmtheater de Uitkijk, Amsterdam. NL
February 2022 Artist. Untitled Group Exhibition. Oude Lutherse Kerk, Amsterdam. NL
July 2021 Curator. Simulacrum Still(ness)/Stil(te) Launch. Filmtheater de Uitkijk, Amsterdam. NL
June 2021 Curator, Production. Simulacrum Still(ness)/Stil(te) Symposium. BAK, Utrecht, NL + Digital
May 2021 Artist. Untitled Group Exhibition. Vox Pop, Amsterdam. NL
March 2021 Curator, Production. Simulacrum Myths Poster Exhibition. Public Space, Amsterdam, NL
December 2020 Production. Simulacrum Levenswerk Launch. Perdu, Amsterdam. NL
November 2020 - November 2021 Film Curator, Production. 75 Jaar Kriterion. Filmtheater Kriterion, Amsterdam, NL
March 2020 Film Curator. Film & Poetry. Filmtheater Kriterion, Amsterdam, NL
February 2020 Film Curator. Simulacrum Fetish Nights. Filmtheater Kriterion, Amsterdam, NL
February 2020 Curator. Simulacrum Fetish Exhibition. Filmtheater Kriterion, Amsterdam, NL
January 2020 Film Curator. Experimental Blue Shorts. Filmtheater Kriterion, Amsterdam, NL
December 2019 Film Curator, Production. Europa Cinemas Night. Filmtheater Kriterion, Amsterdam, NL
November 2019 Production. IDFA Film Festival. Filmtheater Kriterion, Amsterdam, NL
November 2019 Curator. IDFA: Reflect on Reality Exhibition. Filmtheater Kriterion, Amsterdam, NL
October 2019 Production. Camera Japan Film Festival. Filmtheater Kriterion, Amsterdam, NL
October 2019 Curator. Nyre Tiessen Camera Japan Exhibition. Filmtheater Kriterion, Amsterdam, NL
October 2019 Production. Amsterdamned Film Festival. Filmtheater Kriterion, Amsterdam, NL
September 2019 Film Curator, Production. 16feMMe. Filmtheater Kriterion, Amsterdam, NL
September 2019 Film Curator, Production. Ramallah Film Night. Filmtheater Kriterion, Amsterdam, NL
August 2019 Film Curator. Adam’s Appel. Sexyland, Amsterdam, NL
July 2019 Researcher. Kriterion Ramallah Project. Ramallah, Palestine
June 2019 Production. Transcreen Film Festival. Filmtheater Kriterion, Amsterdam, NL
June 2019 Production. Transcreen Exhibition. Filmtheater Kriterion, Amsterdam, NL
June 2019 Film Curator. Fashion in Film. Filmtheater Kriterion, Amsterdam, NL
April 2019 Film Curator. Rethinking Economics. Filmtheater Kriterion, Amsterdam, NL
February 2019 - March 2019 Production. Cinemasia Film Festival. Filmtheater Kriterion, Amsterdam, NL
February 2019 - March 2019 Film Curator. Enjoy Poverty. Filmtheater Kriterion, Amsterdam, NL
February 2019 Production. Square 1 – Louishothothot Exhibition. Filmtheater Kriterion, Amsterdam, NL
January 2019 Film Curator, Production. Sarajevo Film Night. Filmtheater Kriterion,,Amsterdam, NL
November 2018 - May 2019 Film Curator, Production. Propaganda. Filmtheater Kriterion, Amsterdam, NL
October 2018 Production. Camera Japan Film Festival. Filmtheater Kriterion, Amsterdam, NL
October 2018 Production. Amsterdamned Film Festival. Filmtheater Kriterion, Amsterdam, NL
October 2018 Production. Big Art Serieuze Zaken Exhibition. Big Art Amsterdam, Amsterdam, NL
October 2018 Production. Kunstrai Serieuze Zaken/WOW Exhibition. Kunstrai Amsterdam, Amsterdam, NL
July 2018 Curator, Production. Boye x Das Cabinet des Dr. Caligari. Sexyland, Amsterdam, NL
March 2018 - September 2018 Film Curator. Erfenissen ‘68. Filmtheater Kriterion, Amsterdam, NL
February 2018 Film Curator. Visual Art in Film. Filmtheater Kriterion, Amsterdam, NL
February 2018 Curator, Production. Visual Art in Film Exhibition. Filmtheater Kriterion, Amsterdam, NL
April 2017 Artist. Travel Diary Exhibition (solo). Studio /k, Amsterdam, NL
March 2017 Artist. Ontgrendel de Nacht (group). Frascati, Amsterdam, NL
kenneth geurts (1996) is an artist that works through the media of analog film and graphic design. He specializes in 16mm film, publication design and title design. Currently he is based between Amsterdam and New York City.
Instagram: @Ikkenneth, Email: kennethqgeurts@gmail.com
professional experience
2024 - current Assistant. Mono No Aware
2023 - current Production. IDFA
2022 - current Graphic Designer. Simulacrum Magazine
2020 - 2022 Editor & Treasurer. Simulacrum Magazine
2020 - 2022 Head of Graphic Design. Filmtheater Kriterion
2019 - 2020 General employee. Mediamatic
2018 - 2022 Graphic Designer. Filmtheater Kriterion
2018 - 2020 Head of Special Programming. Filmtheater Kriterion
2018 - 2020 Head Assistant. Serieuze Zaken by Rob Malasch
2016 - 2018 Programme Curator & Treasurer. Kanvas
education
2020 - 2023 rMA Artistic Research. University of Amsterdam
2015 - 2018 BA Art History. University of Amsterdam
2014 - 2015 Propedeuse Media Studies. University of Amsterdam
work has been supported by:
DutchCulture, Netherland-American Foundation, Cultuurfonds, Het Nederlandse Filmfonds, Hendrik Muller fonds, de Fundatie van Renswoude, het Horizonfonds, het Bekker-la Bastide Fonds, ASC Academy, Amsterdamse Universiteitsfonds
(selected) research projects, exhibtions, events, etc.
January 2025 Artist. Filmmakers’ Night – Episode #0, Filmhuis Cavia, Amsterdam, NL
November 2024 Artist, Speaker. Museumnacht, Museum Willet-Holthuysen, Amsterdam, NL
October 2024 Visual Researcher, Designer. Filmfonds application for Ena Sendijarević's 'The Possessed'
July 2024 Artist. Mono No Aware selections screening. Anthology Film Archives, New York City, US
June 2024 Artist, Speaker. Radical Film Network, La Corrala, Universidad Autónoma de Madrid, Madrid, ES
June 2024 Artist. Nieuwe Nieuwsmarkt #1 Launch. San Serriffe. Amsterdam, NL
May 2024 Artist, Speaker. Eye International Conference, Eye Filmmuseum, Amsterdam, NL
May 2024 Artist. [In]Transitation Journal, Online.
May 2024 Producer for Molly Scotti's short film 'A Tavola' (executive produced by Isabella Rossellini).
February 2024 Artist. Can't We All Just Get Along. Stevenson Gallery, Amsterdam, NL
November 2023 Artist. Porto Post Doc. Porto, Portugal
September 2023 Artist. Casa do Xisto Residency. Porto, Portugal
June 2023 Artist. Mono No Aware Selections Screening. MoMa. New York, US
June 2023 Artist. A seat for A table, A sun for the sky exhibition. de Appel. Amsterdam, NL
May 2023 Artist. Mono No Aware Selections screening. Anthology Film Archives. New York, US
May 2023 Curator. Blossom/Bloesom exhibition (group). Roehouse. New York, US
December 2022 Curator. Fertile Grounds exhibition (group). Roehouse. New York, US
December 2022 Speaker. Transoceanic Memories: Disaster Haggyo presentation. Framer Framed. Amsterdam, NL
November 2022 - February 2023 Artist. Art of the Football Scarf (group). OOF Gallery. London, UK
October 2022 Speaker. The documenta issue launch event. Motto Books, Berlin. Germany
August 2022 Artist, Researcher. Disaster Haggyo #1. Framer Framed & KAIST, Daejeon, Jeju. South Korea
July 2022 Curator. Simulacrum het Reflectienummer Launch. BG2 + Filmtheater de Uitkijk, Amsterdam. NL
June 2022 Artist, Researcher. Swarmcast (collaboration). Machinic Cultures Symposium, Leiden. NL + digital
April 2022 Curator. Simulacrum Dirt Launch. Botanische Tuin Zuidas + Filmtheater de Uitkijk, Amsterdam. NL
February 2022 Artist. Untitled Group Exhibition. Oude Lutherse Kerk, Amsterdam. NL
July 2021 Curator. Simulacrum Still(ness)/Stil(te) Launch. Filmtheater de Uitkijk, Amsterdam. NL
June 2021 Curator, Production. Simulacrum Still(ness)/Stil(te) Symposium. BAK, Utrecht, NL + Digital
May 2021 Artist. Untitled Group Exhibition. Vox Pop, Amsterdam. NL
March 2021 Curator, Production. Simulacrum Myths Poster Exhibition. Public Space, Amsterdam, NL
December 2020 Production. Simulacrum Levenswerk Launch. Perdu, Amsterdam. NL
November 2020 - November 2021 Film Curator, Production. 75 Jaar Kriterion. Filmtheater Kriterion, Amsterdam, NL
March 2020 Film Curator. Film & Poetry. Filmtheater Kriterion, Amsterdam, NL
February 2020 Film Curator. Simulacrum Fetish Nights. Filmtheater Kriterion, Amsterdam, NL
February 2020 Curator. Simulacrum Fetish Exhibition. Filmtheater Kriterion, Amsterdam, NL
January 2020 Film Curator. Experimental Blue Shorts. Filmtheater Kriterion, Amsterdam, NL
December 2019 Film Curator, Production. Europa Cinemas Night. Filmtheater Kriterion, Amsterdam, NL
November 2019 Production. IDFA Film Festival. Filmtheater Kriterion, Amsterdam, NL
November 2019 Curator. IDFA: Reflect on Reality Exhibition. Filmtheater Kriterion, Amsterdam, NL
October 2019 Production. Camera Japan Film Festival. Filmtheater Kriterion, Amsterdam, NL
October 2019 Curator. Nyre Tiessen Camera Japan Exhibition. Filmtheater Kriterion, Amsterdam, NL
October 2019 Production. Amsterdamned Film Festival. Filmtheater Kriterion, Amsterdam, NL
September 2019 Film Curator, Production. 16feMMe. Filmtheater Kriterion, Amsterdam, NL
September 2019 Film Curator, Production. Ramallah Film Night. Filmtheater Kriterion, Amsterdam, NL
August 2019 Film Curator. Adam’s Appel. Sexyland, Amsterdam, NL
July 2019 Researcher. Kriterion Ramallah Project. Ramallah, Palestine
June 2019 Production. Transcreen Film Festival. Filmtheater Kriterion, Amsterdam, NL
June 2019 Production. Transcreen Exhibition. Filmtheater Kriterion, Amsterdam, NL
June 2019 Film Curator. Fashion in Film. Filmtheater Kriterion, Amsterdam, NL
April 2019 Film Curator. Rethinking Economics. Filmtheater Kriterion, Amsterdam, NL
February 2019 - March 2019 Production. Cinemasia Film Festival. Filmtheater Kriterion, Amsterdam, NL
February 2019 - March 2019 Film Curator. Enjoy Poverty. Filmtheater Kriterion, Amsterdam, NL
February 2019 Production. Square 1 – Louishothothot Exhibition. Filmtheater Kriterion, Amsterdam, NL
January 2019 Film Curator, Production. Sarajevo Film Night. Filmtheater Kriterion,,Amsterdam, NL
November 2018 - May 2019 Film Curator, Production. Propaganda. Filmtheater Kriterion, Amsterdam, NL
October 2018 Production. Camera Japan Film Festival. Filmtheater Kriterion, Amsterdam, NL
October 2018 Production. Amsterdamned Film Festival. Filmtheater Kriterion, Amsterdam, NL
October 2018 Production. Big Art Serieuze Zaken Exhibition. Big Art Amsterdam, Amsterdam, NL
October 2018 Production. Kunstrai Serieuze Zaken/WOW Exhibition. Kunstrai Amsterdam, Amsterdam, NL
July 2018 Curator, Production. Boye x Das Cabinet des Dr. Caligari. Sexyland, Amsterdam, NL
March 2018 - September 2018 Film Curator. Erfenissen ‘68. Filmtheater Kriterion, Amsterdam, NL
February 2018 Film Curator. Visual Art in Film. Filmtheater Kriterion, Amsterdam, NL
February 2018 Curator, Production. Visual Art in Film Exhibition. Filmtheater Kriterion, Amsterdam, NL
April 2017 Artist. Travel Diary Exhibition (solo). Studio /k, Amsterdam, NL
March 2017 Artist. Ontgrendel de Nacht (group). Frascati, Amsterdam, NL