Event – W139

Codicil Screenings: Christopher Tym

Codicil Screenings is a screening program that runs in the front space of the W139 until September 2018. Every Thursday evening an artist is invited to present their work amongst other moving images of their choice. A codicil is an addition or supplement that explains, modifies or revokes a will.

Codicil Screenings is een screeningprogramma dat t/m september 2018 in de voorruimte van de W139 werd gepresenteerd. Elke donderdagavond wordt een kunstenaar uitgenodigd om hun werk te presenteren in relatie tot andere bewegende beelden van hun eigen keuze. Een codicil is een toevoeging of aanvulling die een testament uitlegt, wijzigt of ongeldig verklaard.

Op donderdag 19 juli begint het programma met Christopher Tym, wiens werk vaak visuele vocabulaires verkent die gebruikt worden in massamedia. In de loop van het programma zal Axel Linderholm in de voorruimte van de W139 zijn werk ontwikkelen.

Try-Rotting: Final Presentation

We want to welcome you to the first public try-out of 0000-00-00, bringing together all the materials developed during Para-siting.

19:00: doors open
20:00: performance

Our Para-siting space and our toilets are on the first floor, which is only accessible via a set of stairs. For more info on accessibility, see Contact & Visit.

Admission to this event is by voluntary donation, which can be paid at the door. We recommend a donation of €3 to €5.

Nina Pushkareva—Softrot and co-founder of dance collective Trevoga—is an Amsterdam-based multidisciplinary artist and graduate of the Academy for Theatre and Dance (Modern Theatre Dance). Working across movement, music, fashion, and sculpture, she approaches the body as both image and organism, caught between decay and hallucinated continuity; reconstructed from references, preserved and consumed.

Neda Ruzheva—co-founder of dance collective Trevoga—graduated from the School for New Dance Development before continuing their studies at the Sandberg Institute. Their practice blends academic rigor with subcultural grit, fusing theory, sculpture, physicality and industrial sound to probe the commodification of desire and longing buried beneath digital fatigue.

Manshee Zheng (b. 2002, Beijing) is an artist based in Amsterdam, working across installation, fashion objects and autofictional text. Her practice orbits spectacle-driven desire and the tension between sterile surfaces and psychological violence. She constructs controlled, seductive scenes of exhibitionistic hiding—simultaneously hypervisible and hollowed out.

Rot-in-Progress: Open Rehearsal

Join us for an open rehearsal of 0000-00-00: unfinished scenes, technical try-outs, still-ambiguous atmospheres, and, hopefully, mastered tracks.

You can sign up here to attend the rehearsal and participate in the feedback session that follows.

Our Para-siting space and our toilets are on the first floor, which is only accessible via a set of stairs.

Our normal ticket prices are applicable for this event. For more info on opening times, accessibility or ticket prices, see Contact & Visit.

Rotmaxxing Home: Listening Session

Join us for a walk-in installation with scenographic elements and sound experiments from 0000-00-00. Low frequencies and scattered objects give a first glimpse into the process.

Visitors can enter the space throughout the afternoon.

Our Para-siting space and our toilets are on the first floor, which is only accessible via a set of stairs.

Our normal ticket prices are applicable for this event. For more info on opening times, accessibility or ticket prices, see Contact & Visit.

All That Remains (The Right of Return)

To close The Nature of Remembering, we are honored to welcome artist-filmmaker Inas Halabi. She will lead us through a listening session centered around field recordings collected from the sites of demolished Palestinian villages. These villages have been turned into Israeli national parks and reserves and overgrown with foreign pine trees in an attempt to erase them, confiscate the land, and prevent the original inhabitants (now refugees) from returning.

The field recordings are part of her ongoing research and a film she is currently producing, which also explores the Indigenous plants that continue to grow in these locations, alongside collective rituals related to the harvest season and land, as a way of disrupting this ongoing erasure. Presenting aural landscapes from these locations, that hold together the drum-like song of cicadas and the drone of jet engines, the soundscapes at W139 invite us to consider: What might an image of ‘return’ sound like?

This event will be held in English.

Ticket: €7,50
Student and solidarity ticket: €5

Buy your tickets via Eventbrite.

Inas Halabi (she/her) is an artist-filmmaker living and working between Palestine and the Netherlands. Her practice is concerned with how social and political forms of power manifest, and the impact that overlooked or suppressed histories have on contemporary life. This is anchored around her interest in landscape and systems of power and control. Taking up the history and territory of her native Palestine, her work explores the politics of erasure and the everlasting impact of colonialism on the land and its people. Through the deliberate use of repetition, she aims to capture and create situations that insist on being looked at more closely, bringing to the foreground details of the invisible violence in the everyday, while continuously searching for ways to disrupt this through image and sound, and more recently through collective practices and rituals related to the land.

Image: The demolished village of Beyt ‘Itab, Palestine, 2024. From The Right of Return / All That Remains, an ongoing project by Inas Halabi.

ADE x DARKMATTER: Sapodilla

A special electronic sound programme organized by DARKMATTER Collective featuring musical performances by Amanah and Maguette Dieng that center marginalized voices, diasporic perspectives, and cultural transformation. In collaboration with Amsterdam Dance Event.

Sapodilla is DARKMATTER Collective’s signature electronic music event, presenting a listening session inside W139 with local and international artists. Since its launch in 2022, Sapodilla has reimagined club culture as a space where electronic sound, artistic experimentation and community converge, centering marginalized voices and diasporic perspectives.

Named after a fruit native to the tropical Americas, with deep roots in Indigenous histories of cultivation and knowledge, Sapodilla takes the fruit as a symbol of movement and cultural transformation. Its journeys across the Caribbean and beyond resonate with DARKMATTER’s engagement with histories shaped by indigeneity, colonialism, slavery, migration and creolization—and with the cultures and communities that have endured, transformed and flourished through them.

This event will be held in English.

Ticket: €10
Student and solidarity ticket: €7,50
Free for ADE Pro passholders.

Buy your tickets via Eventbrite.

Plum Road Tea Dream_The Hangout

Plum Road Tea Dream_The Hangout is a relaxed performance centered around the autobiographical video game Plum Road Tea Dream created by artist Samuel Baidoo. The work explores how we can imagine new spaces for grief, healing, commemoration and transformation. Equal parts honest conversation, collective gaming session, tea ceremony and ritual, it invites audiences into an intimate but casual space of reflection and shared experience. For this edition of _The Hangout at W139 Samuel will enter into a dialogue with The Nature of Remembering initiating artist Lawil Karama.

This event will be held in English.

Ticket: €10
Student and solidarity ticket: €7,50

Buy your tickets via Eventbrite.

Samuel Baidoo (they/them) is a creator, performer, game designer and mentor. Alongside their work in the Hanafubuki artist collective, Baidoo also works in various collaborative constellations and maintains their individual practice, which links autobiographical experiences to diverse performances through a constantly evolving archive of images, fragments of text, film stills, documentaries, musical pieces, or excerpts from series, films, games, or manga—popular culture has a special place in their heart.

Lawil Karama (she/her) is a Ugandan-Dutch conceptual artist born in former West Berlin and based in Amsterdam. Her work is deeply rooted in the diasporic experience, often drawing from her family history as a starting point for challenging conventional narratives and amplifying unheard voices. Karama’s creative path began in the world of special make-up effects, which continues to influence her approach, bringing a visceral understanding of form, surface, and psychological tension into her current work.

Image: still from Plum Road Tea Dream (2026) by Samuel Baidoo.

20–23°C / 50% RH

In this performative activation of 350.000 Leaks (Griefs), Aram Lee and artist Merapi Obermayer invite participants into an intergenerational gathering of reading, storytelling, oral histories, and call-and-response.

Moving across generations, national borders, bodies, and languages, 20–23°C / 50% RH questions the hegemonic logic of the universal institutional climate established through conservation in European ethnocolonial museums. Rather than approaching preservation as permanence, the gathering begins from an understanding of care as a practice of transmission, translation, and transformation. Through personal memories, oral histories, excerpts from the work, and related texts, the group explores how memories, losses, and climates pass between and through bodies. Together, Lee, Obermayer, and the session participants seek other climates that emerge through ongoing acts of translation and cannot be reduced to fixed measurements.

This event will be held in English.

Ticket: €10
Student and solidarity ticket: €7,50

Buy your tickets via Eventbrite.

Aram Lee (she/her) is an artist, writer, and educator. Grounded in feminist materialist thinking, her practice examines how histories of power, militarization, occupation, and toxicity are embedded within landscapes, bodies, and ecological matter. Working across moving image, installation, and research-based projects, she draws on oral histories, scientific inquiry, and site-specific investigation to reveal marginalized narratives, material memory, and alternative ways of sensing place.

Merapi Obermayer (she/her) is an artist, poet, and writer born in 1947. Obermeyer calls her work “Fragments in passing,” which bring together various disciplines based on her own colonial history and the issues it raises. The city became her natural habitat—there she meets people who, just like her, have become detached from their original landscape; people who are, day after day, creating their own landscapes, which cannot be taken away by others and which can be carried forever. You can bury your roots, your childhood, but never forever. There is no need to show them to the world. They come out of their own accord. Right now, Obermayer’s attention is focused on photography, projects that are never finished, and writing.

Image: 350,000 Leaks (Griefs) (2024) by Aram Lee, documentation of the live radio broadcast at Wereldmuseum Amsterdam.

The Frame Cannot Hold the Ghosts

A screening and reading programme with Komtouch Napattaloong, Kaisa Saarinen, and Bart Seng Wen Long, which extends out from the trio’s collective installation, bringing focus to their distinct yet sympathetic forms of narration and storytelling. In collaboration with the Prince Claus Fund.

Lingering within the hallowed space of the make-shift rubber tapper shelter in the main exhibition gallery, between the CRT monitor and the modern flatscreen and the stacks of anarchronistic agitprop, are persistent ghosts biding their time to re-manifest: as kinky anecdotes of a middle-aged Singaporean rubberist; a veteran camcorder on its last pixels; eccentric mythologies that have built and continue to sustain a nation’s spirit; the dreams sustained by freebleeding trees night after night.

They gather in the screening and reading programme, The Frame Cannot Hold the Ghosts, which expands on the various themes entangled within the installation, featuring three short films, an interview with a gimp, and excerpts from a hybrid nonfiction-in-progress.

This event will be held in English.

Ticket: €7,50
Student and solidarity ticket: €5

Buy your tickets via Eventbrite.

Film programme

Phi Pattana / In Sum (2026), 17 min
Corroded pixels struggle to form an image as they move through Cold War promises of development in rural Thailand, haunted by archival voices.

Emergencies (2025), 15 min
A Singaporean man mixes up two memories: one of a colonial-era propaganda film about communist insurgencies in rubber plantations, and another of his Malaysian ex-playmate.

No Exorcism Film (2024), 20 min
As one robotic voice recounts nightmarish returns to Thailand, another seeks to console.

Field Interview #2 (2025), 5 min
On the elevated walkway of Singapore’s Plantation District, a social housing estate built on top of a colonial-era rubber plantation, M. Shah hones his kickboxing drills clad in his preferred sportswear—a head-to-toe rubber suit.

All of It Transforms into Something Nobody Knows (Ongoing)
Emerging from and building on an ongoing research-based art project around rubber, All of It Transformed into Something Nobody Knows is a hybrid non-fiction book that explores the material as a commodity fetish & fetish commodity.

Komtouch Napattaloong (he/him) is a visual artist and filmmaker based in Thailand. Working across experimental, documentary, and ‘post-documentary’ cinematic forms, his practice involves identity deconstructions, migration narratives, and historical translations to examine the nature of memory, displacement, and image agency.

Kaisa Saarinen (she/her) is a Finnish researcher, poet, and novelist based in London. She writes about false dichotomies, country girls lost in the dazzle of big cities and other underdogs, strange desires and painful transformations, with particular attention to the absurd pleasures and frequent horrors of living through an ongoing apocalypse. Together with Bart Seng Wen Long, she is leading the Rubber Dreams of its Lifetime project.

Bart Seng Wen Long (he/him) is a Singaporean artist, filmmaker and curator based in London. His practice spans moving images, photography, expanded cinema and performance, revolving around confrontations between reality and fantasy, and how in the heat of such encounters, they reveal the interconnectedness of things within the political economy of desire.

Image: still from Phi Pattana / In Sum (2026) by Komtouch Napattaloong.

The residency of Komtouch Napattaloong is part of the Exchanges programme by the Prince Claus Fund, with the support of the Amsterdam City Council.

Atmospheric Witnessing

Initiating artist Lawil Karama is joined by anthropologist, artist, and curator Edward Akintola Hubbard for a conversation around Karama’s installation Algorithm of Colour, shedding light on her long-term research into the limits of representing violence and the possibilities for staging sites of memorial.

In this first event of the context programme, the audience is invited into Karama’s ongoing process, offering a view of how the ideas behind Algorithm of Colour as a computer script emerged from years of investigation into the archive of human rights violations during the Idi Amin regime (1971-1979); and why, subsequently, the script has manifested as an immersive installation that works through the notion of ‘atmospheric witnessing’ to critically fabulate a form of commemoration not yet possible for those whose lives were—and are still—affected by the violence. With ‘atmospheric witnessing,’ Karama counters conventional notions of spectatorship tethered to photographic documentation, looking, instead, to the sky itself as an actant present to Amin’s system of executions. The concept also, as Karama and Hubbard will explore, serves as a key starting point for the broader curatorial concept behind the exhibition The Nature of Remembering.

This event will be held in English.

Ticket: €7,50
Student and solidarity ticket: €5

Buy your tickets via Eventbrite.

Edward Akintola Hubbard (he/him) is a Rotterdam-based artist and educator whose practice is experimental ethnography. Combining research methods from across anthropology, art theory, cinema, media studies, gender studies, urban studies, gothic studies and African diaspora studies, his work takes form through photography, video, installation, and curation. As artistic director of the DARKMATTER Collective, Hubbard is invested in creating spaces where the invisible can be made visible.

Image: Lawil Karama, Algorithm of Colour: Reflection Series – Sky 14:00 EAT, February 10, 1973 Mbale, Uganda (2026), KunstRAI X Rietveld Alumni 2026: paralelepípedo, photography by Lucia Del Valle Ramirez.