On Saturday July 18th and Sunday July 19th, from 13:30 till 16:00 in de Maakfabriek, Churchillweg 21, Wageningen
A workshop in which you recheck your values and identity, and create new symbols for yourself. The workshop is a joint collaboration between Tamrat Gezahegne (multimedia artist) and Dienke Groenhout (interdisciplinairy artist).
Tamrat: “I can say I am Ethiopian, it is in my passport and it is an identity that was given to me, but can I truly represent it? I don’t even know what it means to say I am Ethiopian.
So I traveled my country to find out about it, and to find out which values I share with all the nationalities that Ethiopia contains. Each symbol is like a talisman. The script includes traditional and modern habits, food cultures, heritage and social values.”
Dienke: “I traveled the world a lot and I was given many names like foreigner, outsider, stranger. At a certain point I felt that my outside was disconnected from what I felt I was on the inside. People thought that I belonged to some group that I didn’t represent in my own feelings. And I started to research this feeling by making costumes for myself that created a whole new context for me. A possibilty to represent a new identity that I could be and to wonder what I wanted to be.”
The costumes Dienke makes and the symbolic script that Tamrat designed where born from similar research questions: can we try to redesign the values that we find important in life, and ask ourselves ‘what do we (want to) represent in this world?’
Artist talk about Tamrat’s new script named Wehed, which means mixed in harmony.
Artist talk about the “Ferengi” project that Dienke did in Ethiopia.
After the presentation you can design your own symbols and blockprint them on a small flag (or tattoo it on your body). We will create a flagline with our joint values from the group and display it in the new exhibtion window of MakeFactory.
Exhibtion Child Of Freedom in the “Nationaal Onderduik Museum” in Aalten is open.
From 01-07-2020 until 14-02-2021
Opening hours: Tuesday to Sunday 13:00 – 17:00 uur, Markt 12-16 Aalten
Please be warmly welcomed in this fascinating museum where the people in hiding were literally sitting right above the office of the German Wehrmacht. The original hiding places are kept exactly like they were and you can touch everything. This place drags you right into the intens history that happened here.
The special exhibtion room shows the exhibtion “Child of Freedom”. Three artists have made work for nine personal stories about freedom. What is freedom? And when do you feel it?
In the part that MakeFactory did the question about freedom was connected to the question “where do you feel at home?”. An interesting one for us, since we travel a lot and regularly live a life on the road on the search for freedom.
That’s why the question was asked to Ate Meijer (16) who traveled with the MakeFactory last year and switched her home and friends for a nomadic life. She made a wonderfull short film compilation that shows what a home-feeling means to her while being on the road.
The other two stories that where the starting point for MakeFactories work where the stories of Joseph Tetelepta from the Moluccan Islands and of the Dutch/German Rudolph Ostermann.
Joseph came to the Netherlands as a young child with the governmental programm that brought the Mollucan KNIL soldiers who had faught with the Dutch army in Indonesia to the Netherlands. The Mollucan families where housed in the former concentration camps from WO II. The idea was that they would stay temporarily, that’s why they didn’t learn to speak Dutch, didn’t get passports and lived with a packed suitcase at the doorstep, so they where able to leave at any moment. But slowly temporarily turned into forever. How can you feel at home if you’ve always been told that home is somewhere else?
The German Rudolph Ostermann already lived in the Netherlands with his family for generations when WO II started. Right after the war the Dutch government started the operation “Black Tulip”.
It meant that all Germans were ordered to leave the country regardless of their story or background. During the war the family had helped people fleeing the country but it didn’t matter, they were evicted relentlessly. How to feel at home if someone else says your home isn’t here?
Half a year after we have returned from our foreign productions and adventures, it is still adapting to Dutch life. When you live a life on the road you are always an exception and there are far fewer rules for a traveler than for someone who is permanently located somewhere. So much is suddenly possible when everyone knows that you will be gone soon! Back in the Netherlands, the system, to which even the art world is subject, suddenly becomes very clear. There is an extraordinary number of rules in the Netherlands. For example, dogs are not allowed to walk for themselves. How strange it seems, if you have been in 8 countries for a year where the dogs move freely between people, to see them walking on lines. Most rules are all meant to protect us and take care of us. We have many rights. If something goes wrong, a new rule will be added immediately. People get sleepy, but also grumpy, and complaining. After all, what can we bring in for ourselves in this neatly arranged life? What can we do our very best for? Everyone seems to be looking for meaning. What do we do all this for? Art seems to be able play a role in this whole, but what is that role? In a plea for the autonomy of the arts, Jeroen Boomgaard (Open 2006) says that art in society has the role of our conscience, of reflection and of the representation of things that seem to be forgotten in a world focused mainly on functionality and efficiency. But there is also a pitfall. The government is also aware of this. She knows that art can be used in that way. And therefore asks that the arts be used more and more efficiently. For the use of something. Artists can receive subsidies for solving problems related to loneliness, for example, or for innovative ideas that we can then apply in a very practical way. But with that, art loses its autonomy. Autonomous arts no longer exist at art academies as a study direction. Stripping the autonomy away from art also takes away the power that art has. It is made dependent and can therefore also be held liable for an alleged failure. Useful art can no longer function as a conscience. In a society that seems to have sacrificed most of its values for unimpeded economic market progress, the autonomy of the arts could offer an alternative. (Open 2006)
After having made several visits to the Dutch embassies in the various countries that we visited, it becomes even clearer how much the Netherlands is focused on the market economy, a dominant pivot that is never under discussion itself. The arts must be useful to society! That is the trend. If it does not yield a lot of money or an extraordinary status, then Dutch art abroad is not a cost for the government. In Africa, the Dutch embassies are always in the smallest building, preferably shared with Europe or something, because on that continent, there is nothing (more) for them to get. You can get a subsidy to set up a lucrative beer factory, but there is no money for arts and culture. Why would you invest in someone else’s society if you don’t get anything in return? Well … I don’t know the answer, but the French, the Belgians, the Norwegians and the Swedish do it.
Arriving here in the Netherlands again, it appears that an investigation has been demanded by the national government concerning work regulation on behalf of the Ministry of Social Affairs. Hans Borstlap, head of the investigative committee, concludes that there are too many self-employed people in the Netherlands who could actually be employed by large companies. I remember a while ago that Jet Bussemaker declared, as the then sitting Minister of Education and Culture, that artists should receive ‘normal’ wages just like everyone else. Yeah!!! called all the artists. Not realizing that what was actually said was this: “There is less subsidy for the arts and the arts need to be used even more usefull for the public good, because we want to pay for usefulness, and not for art itself.” Does this art system still work?
Anyway, now the work regulation committee of Hans Borstlap has proposed that all self-employed persons should be employed, unless … This means that all artists and dancers and theater makers and all kinds of other makers are obliged to demonstrate that they are unable or unwilling to work for companies or that there is no one who can or will hire them.
I thought to myself that I actually don’t mind being employed. Certainly if I can continue to do the great work that I already do. Then I would like to do that in service. So whom should I join? The government also clearly wants something from me (I am bombarded with letters from various government institutions, you too?), so maybe I should just apply for a job at the nation? I actually do exactly what they want from me, but now I usually do it for next to no money, so I don’t mind doing the same work and get normal payment for a change.
Below you can read my application letter in full:
Ministry of Education, Culture and Science February 12, 2020 Attn. Ingrid van Engelshoven, Minister P.O. Box 16375 2500 BJ The Hague
Regarding: Open Application Attachments: CV and portfolio
Dear Mrs. Engelshoven,
I would like to apply for a permanent job as an artist in the service of the state. The reason for this is the presentation of the final report of the ‘Regulation of Work’ committee.
I am very motivated to continue my activities and professional practice as a professional artist. In recent years I have done this with great pleasure and success. With my work I inspire people, and I make an appropriate contribution to a healthy reflection on society and our national community. The reactions to my work confirm me in this, and I experience that many share this view with me.
But getting fair compensation for my work as an artist is increasingly an arduous process, which is also very distracting from what I am good at and what I enjoy doing, namely making art. It is increasingly becoming apparent that government funds made available for making art are already exhausted when quartermasters, culture brokers, policy advisers and other organizational elements have finished their work. The actual production of art, and the supply of the consequent value to society, is severely limited by this.
In the statements I read about the final report of the committee ‘Regulation of Work’, I see an opportunity to improve this in a pragmatic way. Since the results of my work mainly provide added value for Dutch society, I would like to apply to you as a performing artist. This seems to me to be the most obvious employer-employee relationship for permanent employment as an artist. Since there are no vacancies in this area, I would like to work with you on this in a creative and innovative way. Hence this open application.
My proposal is that I report directly to you, whereby frequency and content can be determined in mutual consultation. As a return service for a fixed fee, which as a starting point may not have to be more than the statutory minimum wage (undeniably many times less than the usual hiring rates for external personnel from the government), I will be able to continue my activities as an artist and continue to contribute positively to depolarization, inspiration, reflectivity, etc.
For an overview of my recent work, I would like to refer you to my website, www.makefactory.nl
My application is also in line with a previous appeal by Mrs. Jet Bussemaker, formerly Minister of Education, Culture and Science, who argued that artists should receive reasonable compensation for their work.
I would like to be invited by you to explain this orally, and to discuss the possibilities and form of a possible employment contract with you.
Thanks for your comment, Kind regards,
Well… what will be the answer to that? To be continued!