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Thank you @european.media.art.festival

Thank you @european.media.art.festival

Thank you @european.media.art.festival

Thank you @european.media.art.festival

Thank you for everyone for coming to the screening + panel talk of Sharp Objects at @wereldmuseum.amsterdam as part of @beyond_provenance organised by @wysiwygcinema and @indeks_id
Always love the conversations around these screenings wish it could have gone on longer!
Photos by @benyauhaus

Thank you for everyone for coming to the screening + panel talk of Sharp Objects at @wereldmuseum.amsterdam as part of @beyond_provenance organised by @wysiwygcinema and @indeks_id
Always love the conversations around these screenings wish it could have gone on longer!
Photos by @benyauhaus

Thank you for everyone for coming to the screening + panel talk of Sharp Objects at @wereldmuseum.amsterdam as part of @beyond_provenance organised by @wysiwygcinema and @indeks_id
Always love the conversations around these screenings wish it could have gone on longer!
Photos by @benyauhaus

Thank you for everyone for coming to the screening + panel talk of Sharp Objects at @wereldmuseum.amsterdam as part of @beyond_provenance organised by @wysiwygcinema and @indeks_id
Always love the conversations around these screenings wish it could have gone on longer!
Photos by @benyauhaus

Thank you for everyone for coming to the screening + panel talk of Sharp Objects at @wereldmuseum.amsterdam as part of @beyond_provenance organised by @wysiwygcinema and @indeks_id
Always love the conversations around these screenings wish it could have gone on longer!
Photos by @benyauhaus

Thank you for everyone for coming to the screening + panel talk of Sharp Objects at @wereldmuseum.amsterdam as part of @beyond_provenance organised by @wysiwygcinema and @indeks_id
Always love the conversations around these screenings wish it could have gone on longer!
Photos by @benyauhaus

Thank you for everyone for coming to the screening + panel talk of Sharp Objects at @wereldmuseum.amsterdam as part of @beyond_provenance organised by @wysiwygcinema and @indeks_id
Always love the conversations around these screenings wish it could have gone on longer!
Photos by @benyauhaus

Thank you for everyone for coming to the screening + panel talk of Sharp Objects at @wereldmuseum.amsterdam as part of @beyond_provenance organised by @wysiwygcinema and @indeks_id
Always love the conversations around these screenings wish it could have gone on longer!
Photos by @benyauhaus

Beyond Provenance met o.a. Sharp Objects van Taufiqurrahman Kifu en Hattie Wade.

Op 18 april kun je bij het RCMC (Wereldmuseum Amsterdam) de Europese première van Beyond Provenance: Restitution Seen Through Artistic Collaboration bijwonen. Beyond Provenance is een transnationale samenwerking tussen kunstcollectief Indeks (Bandung) en filmplatform wysiwyg (Den Haag). Hieruit zijn drie films –Sharp Objects, Idak-Idak-Idak en The Stone That Remembers – ontstaan die op artistieke wijze de restitutie van geroofde voorwerpen onderzoeken. Na de vertoning volgt een paneldiscussie.

Bekijk alle profielen van 1463 Haagse kunstenaars met 25149 werken via de link in bio. Wil je meer zien? Bekijk haagsekunstenaars.nl. See you!

[ENG]
Beyond Provenance, with Sharp Objects by Taufiqurrahman Kifu and Hattie Wade.

On 18 April, you can attend the European premiere of Beyond Provenance: Restitution Seen Through Artistic Collaboration at the RCMC (Wereldmuseum Amsterdam). Beyond Provenance is a transnational collaboration between art collective Indeks (Bandung) and film platform wysiwyg (The Hague). The collaboration has resulted in three films – Sharp Objects, Idak-Idak-Idak and The Stone That Remembers – that artistically explore the restitution of looted objects. The screening is followed by a panel discussion.

Explore all profiles of 1,463 The Hague artists and 25,149 works via the link in bio. Want to see more? Visit haagsekunstenaars.nl. See you!

#StroomDenHaag #Stroom #HKNL #Haagsekunstenaars @citizen.obj @firs.tcut @wereldmuseum.amsterdam @wysiwygcinema @indeks_id

🚨Beyond Provenance: Restitution Seen Through Artistic Collaboration

The Research Center for Material Culture at the 
Wereldmuseum invites Beyond Provenance to screen and discuss its three films (European premiere) that artistically explore repatriation of looted objects.

This event is split up into two sessions:
a screening of the three films (Session I) and a panel discussion with all six artists (Session II).

More information and registration for one and/or both sessions can be found in link in bio.

📅18 April 2026
Session I: Screening 12:45–14:40
Session II: Panel discussion 14:45–18:00
🏠Wereldmuseum Amsterdam, Mauritskade 64

🚨Beyond Provenance: Restitution Seen Through Artistic Collaboration

The Research Center for Material Culture at the 
Wereldmuseum invites Beyond Provenance to screen and discuss its three films (European premiere) that artistically explore repatriation of looted objects.

This event is split up into two sessions:
a screening of the three films (Session I) and a panel discussion with all six artists (Session II).

More information and registration for one and/or both sessions can be found in link in bio.

📅18 April 2026
Session I: Screening 12:45–14:40
Session II: Panel discussion 14:45–18:00
🏠Wereldmuseum Amsterdam, Mauritskade 64

🚨Beyond Provenance: Restitution Seen Through Artistic Collaboration

The Research Center for Material Culture at the 
Wereldmuseum invites Beyond Provenance to screen and discuss its three films (European premiere) that artistically explore repatriation of looted objects.

This event is split up into two sessions:
a screening of the three films (Session I) and a panel discussion with all six artists (Session II).

More information and registration for one and/or both sessions can be found in link in bio.

📅18 April 2026
Session I: Screening 12:45–14:40
Session II: Panel discussion 14:45–18:00
🏠Wereldmuseum Amsterdam, Mauritskade 64

🚨Beyond Provenance: Restitution Seen Through Artistic Collaboration

The Research Center for Material Culture at the 
Wereldmuseum invites Beyond Provenance to screen and discuss its three films (European premiere) that artistically explore repatriation of looted objects.

This event is split up into two sessions:
a screening of the three films (Session I) and a panel discussion with all six artists (Session II).

More information and registration for one and/or both sessions can be found in link in bio.

📅18 April 2026
Session I: Screening 12:45–14:40
Session II: Panel discussion 14:45–18:00
🏠Wereldmuseum Amsterdam, Mauritskade 64

🚨Beyond Provenance: Restitution Seen Through Artistic Collaboration

The Research Center for Material Culture at the 
Wereldmuseum invites Beyond Provenance to screen and discuss its three films (European premiere) that artistically explore repatriation of looted objects.

This event is split up into two sessions:
a screening of the three films (Session I) and a panel discussion with all six artists (Session II).

More information and registration for one and/or both sessions can be found in link in bio.

📅18 April 2026
Session I: Screening 12:45–14:40
Session II: Panel discussion 14:45–18:00
🏠Wereldmuseum Amsterdam, Mauritskade 64

Sharp Objects will be shown at @european.media.art.festival in Osnabrück, Germany as part of the programme ‘Figures of Dissolution’ on 24th April at 15:30 at Lagerhalle

Sharp Objects was made together with @t_kifu as part of the larger project @beyond_provenance organised by @wysiwygcinema and @indeks_id

Sharp Objects will have its first public screening at FFD Jogja @ffdjogja Hattie and I will be there for the Q&A. See you!

New film coming soon by me and @t_kifu
This film is part of the ‘Beyond Provenance’ project produced by @indeks_id and @wysiwygcinema

This project follows the forgotten story of the Klungkung keris back to it’s origins and to its post-colonial relevance to tourism in Bali today, tracing the looting of the keris to the modern day in Bali. The film juxtaaposes the ‘knowledge’ of colonial archives against community-based knowledge and mythology, convoluting the understanding of what is preserved, what is dead and what is lost.

We would like to thank our friends in Bali who were willing to be interviewed during the research and production process for this film:

Marlowe Bandem
Hardika Bagus
Mangmong Lembubara
Wayan Sumahardika
Pande Made Subrata
Tjokorda Susila
Krisna Satya

🎞️Film stocks by @moviestudiobali @orlandobassi
🎞️Developed & Scan: The Negative Space @preservefilm

Music by: @catra.catra.catra and @ivalfull

Funded by @stimuleringsfonds

THY CITIES SHALL WITH COMMERCE SHINE - PART II
Hattie Wade - @citizen.obj

📍 35, rue Souverain Pont

Ne manquez pas de faire une halte devant cette installation du parcours #17 d’Art au Centre, visible jusqu’au 31 août, de jour comme de nuit.

Le plan complet se trouve sur artaucentre.be ⚡
______

/EN/ Stop by this work of Art au Centre route #17 — on view day and night until 31 August.

Full map on artaucentre.be ⚡

THY CITIES SHALL WITH COMMERCE SHINE - PART II
Hattie Wade - @citizen.obj

📍 35, rue Souverain Pont

Ne manquez pas de faire une halte devant cette installation du parcours #17 d’Art au Centre, visible jusqu’au 31 août, de jour comme de nuit.

Le plan complet se trouve sur artaucentre.be ⚡
______

/EN/ Stop by this work of Art au Centre route #17 — on view day and night until 31 August.

Full map on artaucentre.be ⚡

THY CITIES SHALL WITH COMMERCE SHINE - PART II
Hattie Wade - @citizen.obj

📍 35, rue Souverain Pont

Ne manquez pas de faire une halte devant cette installation du parcours #17 d’Art au Centre, visible jusqu’au 31 août, de jour comme de nuit.

Le plan complet se trouve sur artaucentre.be ⚡
______

/EN/ Stop by this work of Art au Centre route #17 — on view day and night until 31 August.

Full map on artaucentre.be ⚡

THY CITIES SHALL WITH COMMERCE SHINE - PART II
Hattie Wade - @citizen.obj

📍 35, rue Souverain Pont

Ne manquez pas de faire une halte devant cette installation du parcours #17 d’Art au Centre, visible jusqu’au 31 août, de jour comme de nuit.

Le plan complet se trouve sur artaucentre.be ⚡
______

/EN/ Stop by this work of Art au Centre route #17 — on view day and night until 31 August.

Full map on artaucentre.be ⚡

THY CITIES SHALL WITH COMMERCE SHINE - PART II
Hattie Wade - @citizen.obj

📍 35, rue Souverain Pont

Ne manquez pas de faire une halte devant cette installation du parcours #17 d’Art au Centre, visible jusqu’au 31 août, de jour comme de nuit.

Le plan complet se trouve sur artaucentre.be ⚡
______

/EN/ Stop by this work of Art au Centre route #17 — on view day and night until 31 August.

Full map on artaucentre.be ⚡

THY CITIES SHALL WITH COMMERCE SHINE - PART II
Hattie Wade - @citizen.obj

📍 35, rue Souverain Pont

Ne manquez pas de faire une halte devant cette installation du parcours #17 d’Art au Centre, visible jusqu’au 31 août, de jour comme de nuit.

Le plan complet se trouve sur artaucentre.be ⚡
______

/EN/ Stop by this work of Art au Centre route #17 — on view day and night until 31 August.

Full map on artaucentre.be ⚡

THY CITIES SHALL WITH COMMERCE SHINE - PART II
Hattie Wade - @citizen.obj

📍 35, rue Souverain Pont

Ne manquez pas de faire une halte devant cette installation du parcours #17 d’Art au Centre, visible jusqu’au 31 août, de jour comme de nuit.

Le plan complet se trouve sur artaucentre.be ⚡
______

/EN/ Stop by this work of Art au Centre route #17 — on view day and night until 31 August.

Full map on artaucentre.be ⚡

THY CITIES SHALL WITH COMMERCE SHINE - PART II
Hattie Wade - @citizen.obj

📍 35, rue Souverain Pont

Ne manquez pas de faire une halte devant cette installation du parcours #17 d’Art au Centre, visible jusqu’au 31 août, de jour comme de nuit.

Le plan complet se trouve sur artaucentre.be ⚡
______

/EN/ Stop by this work of Art au Centre route #17 — on view day and night until 31 August.

Full map on artaucentre.be ⚡

THY CITIES SHALL WITH COMMERCE SHINE - PART II
Hattie Wade - @citizen.obj

📍 35, rue Souverain Pont

Ne manquez pas de faire une halte devant cette installation du parcours #17 d’Art au Centre, visible jusqu’au 31 août, de jour comme de nuit.

Le plan complet se trouve sur artaucentre.be ⚡
______

/EN/ Stop by this work of Art au Centre route #17 — on view day and night until 31 August.

Full map on artaucentre.be ⚡

THY CITIES SHALL WITH COMMERCE SHINE - PART II
Hattie Wade - @citizen.obj

📍 35, rue Souverain Pont

Ne manquez pas de faire une halte devant cette installation du parcours #17 d’Art au Centre, visible jusqu’au 31 août, de jour comme de nuit.

Le plan complet se trouve sur artaucentre.be ⚡
______

/EN/ Stop by this work of Art au Centre route #17 — on view day and night until 31 August.

Full map on artaucentre.be ⚡

THY CITIES SHALL WITH COMMERCE SHINE - PART II
Hattie Wade - @citizen.obj

📍 35, rue Souverain Pont

Ne manquez pas de faire une halte devant cette installation du parcours #17 d’Art au Centre, visible jusqu’au 31 août, de jour comme de nuit.

Le plan complet se trouve sur artaucentre.be ⚡
______

/EN/ Stop by this work of Art au Centre route #17 — on view day and night until 31 August.

Full map on artaucentre.be ⚡

THY CITIES SHALL WITH COMMERCE SHINE - PART II
Hattie Wade - @citizen.obj

📍 35, rue Souverain Pont

Ne manquez pas de faire une halte devant cette installation du parcours #17 d’Art au Centre, visible jusqu’au 31 août, de jour comme de nuit.

Le plan complet se trouve sur artaucentre.be ⚡
______

/EN/ Stop by this work of Art au Centre route #17 — on view day and night until 31 August.

Full map on artaucentre.be ⚡

THY CITIES SHALL WITH COMMERCE SHINE - PART II
Hattie Wade - @citizen.obj

📍 35, rue Souverain Pont

Ne manquez pas de faire une halte devant cette installation du parcours #17 d’Art au Centre, visible jusqu’au 31 août, de jour comme de nuit.

Le plan complet se trouve sur artaucentre.be ⚡
______

/EN/ Stop by this work of Art au Centre route #17 — on view day and night until 31 August.

Full map on artaucentre.be ⚡

Shots of Thy Cities Shall With Commerce Shine—Part II as part of @artaucentreliege on view until 31st August 2025.

Thy Cities Shall With Commerce Shine is a larger research project that questions what it means that the Lloyd’s of London building holds a Grade I listed status whilst simultaneously the marketplace’s legacy is founded upon the transatlantic slave trade.

Lloyd’s is also the only place in the world where Kidnap and Ransom insurance (K&R) is underwritten. It is widely known that this form of insurance began in the 1930s after the kidnapping of an aristocrat’s son. However historian Anita Rupprecht, in her 2007 paper “Excessive Memories: Slavery, Insurance and Resistance,” traces the origins of K&R to the transatlantic slave trade. Then, it served two purposes: to enable the kidnapping of Africans, and to protect Europeans from a fear of being kidnapped themselves.

Today, K&R is primarily used by extractive multinational corporations (MNC’s) operating in regions they classify as ‘high risk’ (ie Shell in Nigeria). These same regions often bear the scars of historical exploitation and systemic destabilisation by Western capitalist interests. The form of a MNC, too, has its roots in colonialism. Early forms of MNC’s were called joint stock companies, and were granted powers to become colonising corporations for Europe. Modern K&R becomes a tool that not only enables the continuation of exploitative global commerce but also echoes the very systems that once profited from human trafficking and death at sea.

The marble on the wall is made from seismic graphs that are used to speculate for oil reserves and the numbers on the wall are the insurance companies’ profits in millions in one year. The figures are derived from assessing which cluster insurance K&R would be likely to fall under, as figures on their own are not available.

Big thank you to @diegograndry for the 3D and @heinterlinden for the frames
Supported by @amartefonds and @stroom_den_haag

1-7 exhibtion views
8 opening
9 research in google earth
10 research from 2022
11 test seismic render with @samrynearson

Shots of Thy Cities Shall With Commerce Shine—Part II as part of @artaucentreliege on view until 31st August 2025.

Thy Cities Shall With Commerce Shine is a larger research project that questions what it means that the Lloyd’s of London building holds a Grade I listed status whilst simultaneously the marketplace’s legacy is founded upon the transatlantic slave trade.

Lloyd’s is also the only place in the world where Kidnap and Ransom insurance (K&R) is underwritten. It is widely known that this form of insurance began in the 1930s after the kidnapping of an aristocrat’s son. However historian Anita Rupprecht, in her 2007 paper “Excessive Memories: Slavery, Insurance and Resistance,” traces the origins of K&R to the transatlantic slave trade. Then, it served two purposes: to enable the kidnapping of Africans, and to protect Europeans from a fear of being kidnapped themselves.

Today, K&R is primarily used by extractive multinational corporations (MNC’s) operating in regions they classify as ‘high risk’ (ie Shell in Nigeria). These same regions often bear the scars of historical exploitation and systemic destabilisation by Western capitalist interests. The form of a MNC, too, has its roots in colonialism. Early forms of MNC’s were called joint stock companies, and were granted powers to become colonising corporations for Europe. Modern K&R becomes a tool that not only enables the continuation of exploitative global commerce but also echoes the very systems that once profited from human trafficking and death at sea.

The marble on the wall is made from seismic graphs that are used to speculate for oil reserves and the numbers on the wall are the insurance companies’ profits in millions in one year. The figures are derived from assessing which cluster insurance K&R would be likely to fall under, as figures on their own are not available.

Big thank you to @diegograndry for the 3D and @heinterlinden for the frames
Supported by @amartefonds and @stroom_den_haag

1-7 exhibtion views
8 opening
9 research in google earth
10 research from 2022
11 test seismic render with @samrynearson

Shots of Thy Cities Shall With Commerce Shine—Part II as part of @artaucentreliege on view until 31st August 2025.

Thy Cities Shall With Commerce Shine is a larger research project that questions what it means that the Lloyd’s of London building holds a Grade I listed status whilst simultaneously the marketplace’s legacy is founded upon the transatlantic slave trade.

Lloyd’s is also the only place in the world where Kidnap and Ransom insurance (K&R) is underwritten. It is widely known that this form of insurance began in the 1930s after the kidnapping of an aristocrat’s son. However historian Anita Rupprecht, in her 2007 paper “Excessive Memories: Slavery, Insurance and Resistance,” traces the origins of K&R to the transatlantic slave trade. Then, it served two purposes: to enable the kidnapping of Africans, and to protect Europeans from a fear of being kidnapped themselves.

Today, K&R is primarily used by extractive multinational corporations (MNC’s) operating in regions they classify as ‘high risk’ (ie Shell in Nigeria). These same regions often bear the scars of historical exploitation and systemic destabilisation by Western capitalist interests. The form of a MNC, too, has its roots in colonialism. Early forms of MNC’s were called joint stock companies, and were granted powers to become colonising corporations for Europe. Modern K&R becomes a tool that not only enables the continuation of exploitative global commerce but also echoes the very systems that once profited from human trafficking and death at sea.

The marble on the wall is made from seismic graphs that are used to speculate for oil reserves and the numbers on the wall are the insurance companies’ profits in millions in one year. The figures are derived from assessing which cluster insurance K&R would be likely to fall under, as figures on their own are not available.

Big thank you to @diegograndry for the 3D and @heinterlinden for the frames
Supported by @amartefonds and @stroom_den_haag

1-7 exhibtion views
8 opening
9 research in google earth
10 research from 2022
11 test seismic render with @samrynearson

Shots of Thy Cities Shall With Commerce Shine—Part II as part of @artaucentreliege on view until 31st August 2025.

Thy Cities Shall With Commerce Shine is a larger research project that questions what it means that the Lloyd’s of London building holds a Grade I listed status whilst simultaneously the marketplace’s legacy is founded upon the transatlantic slave trade.

Lloyd’s is also the only place in the world where Kidnap and Ransom insurance (K&R) is underwritten. It is widely known that this form of insurance began in the 1930s after the kidnapping of an aristocrat’s son. However historian Anita Rupprecht, in her 2007 paper “Excessive Memories: Slavery, Insurance and Resistance,” traces the origins of K&R to the transatlantic slave trade. Then, it served two purposes: to enable the kidnapping of Africans, and to protect Europeans from a fear of being kidnapped themselves.

Today, K&R is primarily used by extractive multinational corporations (MNC’s) operating in regions they classify as ‘high risk’ (ie Shell in Nigeria). These same regions often bear the scars of historical exploitation and systemic destabilisation by Western capitalist interests. The form of a MNC, too, has its roots in colonialism. Early forms of MNC’s were called joint stock companies, and were granted powers to become colonising corporations for Europe. Modern K&R becomes a tool that not only enables the continuation of exploitative global commerce but also echoes the very systems that once profited from human trafficking and death at sea.

The marble on the wall is made from seismic graphs that are used to speculate for oil reserves and the numbers on the wall are the insurance companies’ profits in millions in one year. The figures are derived from assessing which cluster insurance K&R would be likely to fall under, as figures on their own are not available.

Big thank you to @diegograndry for the 3D and @heinterlinden for the frames
Supported by @amartefonds and @stroom_den_haag

1-7 exhibtion views
8 opening
9 research in google earth
10 research from 2022
11 test seismic render with @samrynearson

Shots of Thy Cities Shall With Commerce Shine—Part II as part of @artaucentreliege on view until 31st August 2025.

Thy Cities Shall With Commerce Shine is a larger research project that questions what it means that the Lloyd’s of London building holds a Grade I listed status whilst simultaneously the marketplace’s legacy is founded upon the transatlantic slave trade.

Lloyd’s is also the only place in the world where Kidnap and Ransom insurance (K&R) is underwritten. It is widely known that this form of insurance began in the 1930s after the kidnapping of an aristocrat’s son. However historian Anita Rupprecht, in her 2007 paper “Excessive Memories: Slavery, Insurance and Resistance,” traces the origins of K&R to the transatlantic slave trade. Then, it served two purposes: to enable the kidnapping of Africans, and to protect Europeans from a fear of being kidnapped themselves.

Today, K&R is primarily used by extractive multinational corporations (MNC’s) operating in regions they classify as ‘high risk’ (ie Shell in Nigeria). These same regions often bear the scars of historical exploitation and systemic destabilisation by Western capitalist interests. The form of a MNC, too, has its roots in colonialism. Early forms of MNC’s were called joint stock companies, and were granted powers to become colonising corporations for Europe. Modern K&R becomes a tool that not only enables the continuation of exploitative global commerce but also echoes the very systems that once profited from human trafficking and death at sea.

The marble on the wall is made from seismic graphs that are used to speculate for oil reserves and the numbers on the wall are the insurance companies’ profits in millions in one year. The figures are derived from assessing which cluster insurance K&R would be likely to fall under, as figures on their own are not available.

Big thank you to @diegograndry for the 3D and @heinterlinden for the frames
Supported by @amartefonds and @stroom_den_haag

1-7 exhibtion views
8 opening
9 research in google earth
10 research from 2022
11 test seismic render with @samrynearson

Shots of Thy Cities Shall With Commerce Shine—Part II as part of @artaucentreliege on view until 31st August 2025.

Thy Cities Shall With Commerce Shine is a larger research project that questions what it means that the Lloyd’s of London building holds a Grade I listed status whilst simultaneously the marketplace’s legacy is founded upon the transatlantic slave trade.

Lloyd’s is also the only place in the world where Kidnap and Ransom insurance (K&R) is underwritten. It is widely known that this form of insurance began in the 1930s after the kidnapping of an aristocrat’s son. However historian Anita Rupprecht, in her 2007 paper “Excessive Memories: Slavery, Insurance and Resistance,” traces the origins of K&R to the transatlantic slave trade. Then, it served two purposes: to enable the kidnapping of Africans, and to protect Europeans from a fear of being kidnapped themselves.

Today, K&R is primarily used by extractive multinational corporations (MNC’s) operating in regions they classify as ‘high risk’ (ie Shell in Nigeria). These same regions often bear the scars of historical exploitation and systemic destabilisation by Western capitalist interests. The form of a MNC, too, has its roots in colonialism. Early forms of MNC’s were called joint stock companies, and were granted powers to become colonising corporations for Europe. Modern K&R becomes a tool that not only enables the continuation of exploitative global commerce but also echoes the very systems that once profited from human trafficking and death at sea.

The marble on the wall is made from seismic graphs that are used to speculate for oil reserves and the numbers on the wall are the insurance companies’ profits in millions in one year. The figures are derived from assessing which cluster insurance K&R would be likely to fall under, as figures on their own are not available.

Big thank you to @diegograndry for the 3D and @heinterlinden for the frames
Supported by @amartefonds and @stroom_den_haag

1-7 exhibtion views
8 opening
9 research in google earth
10 research from 2022
11 test seismic render with @samrynearson

Shots of Thy Cities Shall With Commerce Shine—Part II as part of @artaucentreliege on view until 31st August 2025.

Thy Cities Shall With Commerce Shine is a larger research project that questions what it means that the Lloyd’s of London building holds a Grade I listed status whilst simultaneously the marketplace’s legacy is founded upon the transatlantic slave trade.

Lloyd’s is also the only place in the world where Kidnap and Ransom insurance (K&R) is underwritten. It is widely known that this form of insurance began in the 1930s after the kidnapping of an aristocrat’s son. However historian Anita Rupprecht, in her 2007 paper “Excessive Memories: Slavery, Insurance and Resistance,” traces the origins of K&R to the transatlantic slave trade. Then, it served two purposes: to enable the kidnapping of Africans, and to protect Europeans from a fear of being kidnapped themselves.

Today, K&R is primarily used by extractive multinational corporations (MNC’s) operating in regions they classify as ‘high risk’ (ie Shell in Nigeria). These same regions often bear the scars of historical exploitation and systemic destabilisation by Western capitalist interests. The form of a MNC, too, has its roots in colonialism. Early forms of MNC’s were called joint stock companies, and were granted powers to become colonising corporations for Europe. Modern K&R becomes a tool that not only enables the continuation of exploitative global commerce but also echoes the very systems that once profited from human trafficking and death at sea.

The marble on the wall is made from seismic graphs that are used to speculate for oil reserves and the numbers on the wall are the insurance companies’ profits in millions in one year. The figures are derived from assessing which cluster insurance K&R would be likely to fall under, as figures on their own are not available.

Big thank you to @diegograndry for the 3D and @heinterlinden for the frames
Supported by @amartefonds and @stroom_den_haag

1-7 exhibtion views
8 opening
9 research in google earth
10 research from 2022
11 test seismic render with @samrynearson

Shots of Thy Cities Shall With Commerce Shine—Part II as part of @artaucentreliege on view until 31st August 2025.

Thy Cities Shall With Commerce Shine is a larger research project that questions what it means that the Lloyd’s of London building holds a Grade I listed status whilst simultaneously the marketplace’s legacy is founded upon the transatlantic slave trade.

Lloyd’s is also the only place in the world where Kidnap and Ransom insurance (K&R) is underwritten. It is widely known that this form of insurance began in the 1930s after the kidnapping of an aristocrat’s son. However historian Anita Rupprecht, in her 2007 paper “Excessive Memories: Slavery, Insurance and Resistance,” traces the origins of K&R to the transatlantic slave trade. Then, it served two purposes: to enable the kidnapping of Africans, and to protect Europeans from a fear of being kidnapped themselves.

Today, K&R is primarily used by extractive multinational corporations (MNC’s) operating in regions they classify as ‘high risk’ (ie Shell in Nigeria). These same regions often bear the scars of historical exploitation and systemic destabilisation by Western capitalist interests. The form of a MNC, too, has its roots in colonialism. Early forms of MNC’s were called joint stock companies, and were granted powers to become colonising corporations for Europe. Modern K&R becomes a tool that not only enables the continuation of exploitative global commerce but also echoes the very systems that once profited from human trafficking and death at sea.

The marble on the wall is made from seismic graphs that are used to speculate for oil reserves and the numbers on the wall are the insurance companies’ profits in millions in one year. The figures are derived from assessing which cluster insurance K&R would be likely to fall under, as figures on their own are not available.

Big thank you to @diegograndry for the 3D and @heinterlinden for the frames
Supported by @amartefonds and @stroom_den_haag

1-7 exhibtion views
8 opening
9 research in google earth
10 research from 2022
11 test seismic render with @samrynearson

Shots of Thy Cities Shall With Commerce Shine—Part II as part of @artaucentreliege on view until 31st August 2025.

Thy Cities Shall With Commerce Shine is a larger research project that questions what it means that the Lloyd’s of London building holds a Grade I listed status whilst simultaneously the marketplace’s legacy is founded upon the transatlantic slave trade.

Lloyd’s is also the only place in the world where Kidnap and Ransom insurance (K&R) is underwritten. It is widely known that this form of insurance began in the 1930s after the kidnapping of an aristocrat’s son. However historian Anita Rupprecht, in her 2007 paper “Excessive Memories: Slavery, Insurance and Resistance,” traces the origins of K&R to the transatlantic slave trade. Then, it served two purposes: to enable the kidnapping of Africans, and to protect Europeans from a fear of being kidnapped themselves.

Today, K&R is primarily used by extractive multinational corporations (MNC’s) operating in regions they classify as ‘high risk’ (ie Shell in Nigeria). These same regions often bear the scars of historical exploitation and systemic destabilisation by Western capitalist interests. The form of a MNC, too, has its roots in colonialism. Early forms of MNC’s were called joint stock companies, and were granted powers to become colonising corporations for Europe. Modern K&R becomes a tool that not only enables the continuation of exploitative global commerce but also echoes the very systems that once profited from human trafficking and death at sea.

The marble on the wall is made from seismic graphs that are used to speculate for oil reserves and the numbers on the wall are the insurance companies’ profits in millions in one year. The figures are derived from assessing which cluster insurance K&R would be likely to fall under, as figures on their own are not available.

Big thank you to @diegograndry for the 3D and @heinterlinden for the frames
Supported by @amartefonds and @stroom_den_haag

1-7 exhibtion views
8 opening
9 research in google earth
10 research from 2022
11 test seismic render with @samrynearson

Shots of Thy Cities Shall With Commerce Shine—Part II as part of @artaucentreliege on view until 31st August 2025.

Thy Cities Shall With Commerce Shine is a larger research project that questions what it means that the Lloyd’s of London building holds a Grade I listed status whilst simultaneously the marketplace’s legacy is founded upon the transatlantic slave trade.

Lloyd’s is also the only place in the world where Kidnap and Ransom insurance (K&R) is underwritten. It is widely known that this form of insurance began in the 1930s after the kidnapping of an aristocrat’s son. However historian Anita Rupprecht, in her 2007 paper “Excessive Memories: Slavery, Insurance and Resistance,” traces the origins of K&R to the transatlantic slave trade. Then, it served two purposes: to enable the kidnapping of Africans, and to protect Europeans from a fear of being kidnapped themselves.

Today, K&R is primarily used by extractive multinational corporations (MNC’s) operating in regions they classify as ‘high risk’ (ie Shell in Nigeria). These same regions often bear the scars of historical exploitation and systemic destabilisation by Western capitalist interests. The form of a MNC, too, has its roots in colonialism. Early forms of MNC’s were called joint stock companies, and were granted powers to become colonising corporations for Europe. Modern K&R becomes a tool that not only enables the continuation of exploitative global commerce but also echoes the very systems that once profited from human trafficking and death at sea.

The marble on the wall is made from seismic graphs that are used to speculate for oil reserves and the numbers on the wall are the insurance companies’ profits in millions in one year. The figures are derived from assessing which cluster insurance K&R would be likely to fall under, as figures on their own are not available.

Big thank you to @diegograndry for the 3D and @heinterlinden for the frames
Supported by @amartefonds and @stroom_den_haag

1-7 exhibtion views
8 opening
9 research in google earth
10 research from 2022
11 test seismic render with @samrynearson

Shots of Thy Cities Shall With Commerce Shine—Part II as part of @artaucentreliege on view until 31st August 2025.

Thy Cities Shall With Commerce Shine is a larger research project that questions what it means that the Lloyd’s of London building holds a Grade I listed status whilst simultaneously the marketplace’s legacy is founded upon the transatlantic slave trade.

Lloyd’s is also the only place in the world where Kidnap and Ransom insurance (K&R) is underwritten. It is widely known that this form of insurance began in the 1930s after the kidnapping of an aristocrat’s son. However historian Anita Rupprecht, in her 2007 paper “Excessive Memories: Slavery, Insurance and Resistance,” traces the origins of K&R to the transatlantic slave trade. Then, it served two purposes: to enable the kidnapping of Africans, and to protect Europeans from a fear of being kidnapped themselves.

Today, K&R is primarily used by extractive multinational corporations (MNC’s) operating in regions they classify as ‘high risk’ (ie Shell in Nigeria). These same regions often bear the scars of historical exploitation and systemic destabilisation by Western capitalist interests. The form of a MNC, too, has its roots in colonialism. Early forms of MNC’s were called joint stock companies, and were granted powers to become colonising corporations for Europe. Modern K&R becomes a tool that not only enables the continuation of exploitative global commerce but also echoes the very systems that once profited from human trafficking and death at sea.

The marble on the wall is made from seismic graphs that are used to speculate for oil reserves and the numbers on the wall are the insurance companies’ profits in millions in one year. The figures are derived from assessing which cluster insurance K&R would be likely to fall under, as figures on their own are not available.

Big thank you to @diegograndry for the 3D and @heinterlinden for the frames
Supported by @amartefonds and @stroom_den_haag

1-7 exhibtion views
8 opening
9 research in google earth
10 research from 2022
11 test seismic render with @samrynearson

Watch here the integral version of our trailer for “Be longing”, an experimental film evolving from Michael Rakowitz (@rak_attack_comix) public artwork in The Hague.
Directed by me and @citizen.obj 🎬🎥💜

Happy to finally share a trailer and some stills from the work in progress of the experimental film me and Hattie Wade (@citizen.obj) are directing on “Be longing” by Michael Rakowitz (@rak_attack_comix) 💚🎬

This mid-length experimental film, evolving from Michael’s public artwork in The Hague, aims to rework Western normative practices of archaeology and history-writing. The dominant narratives that are tied with unearthed objects can become alienating to diasporic communities, frequently excluded from official history. The film excavates and preserves stories from these communities—focussing on collectivity and plurality in the present through alternative storytelling beyond geography and history.

This film is produced with the support of Gemeente Den Haag (@gemeentedenhaag) and Stroom Den Haag (@stroom_den_haag).

Our infinite gratitude goes to Michael for his trust and for welcoming us into a journey that introduced us to so many wonderful new people and communities in the city we call home.

Many thanks to the wonderful Wineke van Muiswinkel from Stroom Den Haag and to Willemijn Goetheer from the Gemeente Den Haag.

Our endless gratitude goes to all the participants portrayed in this film, especially those who so generously shared their intimate stories with us and our cameras, always welcoming even our wildest cinematic ideas with openness and grace. In particular:
Aryewinder Bhagirath @aryewinder
Amber M. Arif @_.iamberry
Hermine van Helden @herminevanhelden
Big OC (Ozon Warning) @warrior_came_out_to_play
Yulia Pattopang @yuliapattopang
Margaret Leidelmeijer @Margaret Leidelmeijer
Frank Kanhai @frank.kanhai

Last but not least, deepest gratefulness to all our friends and crew members who helped (and still are helping!) to make this film possible:
Arianna Cavalensi @arianna_cavalensi on 2nd camera
Lara Varat @lara.varat on lights and 2nd camera
Valentino Russo @timmy_oruss on sound recording
Cyan Bae @pingpingpress as runner
nuel @nuel.pw as music composer
Daniel Donato @danieldonato as color grader
Julia Schmitz @juliasterreschmitz as editor

Stay tuned for the release of the film soon! 📽️💌

Happy to finally share a trailer and some stills from the work in progress of the experimental film me and Hattie Wade (@citizen.obj) are directing on “Be longing” by Michael Rakowitz (@rak_attack_comix) 💚🎬

This mid-length experimental film, evolving from Michael’s public artwork in The Hague, aims to rework Western normative practices of archaeology and history-writing. The dominant narratives that are tied with unearthed objects can become alienating to diasporic communities, frequently excluded from official history. The film excavates and preserves stories from these communities—focussing on collectivity and plurality in the present through alternative storytelling beyond geography and history.

This film is produced with the support of Gemeente Den Haag (@gemeentedenhaag) and Stroom Den Haag (@stroom_den_haag).

Our infinite gratitude goes to Michael for his trust and for welcoming us into a journey that introduced us to so many wonderful new people and communities in the city we call home.

Many thanks to the wonderful Wineke van Muiswinkel from Stroom Den Haag and to Willemijn Goetheer from the Gemeente Den Haag.

Our endless gratitude goes to all the participants portrayed in this film, especially those who so generously shared their intimate stories with us and our cameras, always welcoming even our wildest cinematic ideas with openness and grace. In particular:
Aryewinder Bhagirath @aryewinder
Amber M. Arif @_.iamberry
Hermine van Helden @herminevanhelden
Big OC (Ozon Warning) @warrior_came_out_to_play
Yulia Pattopang @yuliapattopang
Margaret Leidelmeijer @Margaret Leidelmeijer
Frank Kanhai @frank.kanhai

Last but not least, deepest gratefulness to all our friends and crew members who helped (and still are helping!) to make this film possible:
Arianna Cavalensi @arianna_cavalensi on 2nd camera
Lara Varat @lara.varat on lights and 2nd camera
Valentino Russo @timmy_oruss on sound recording
Cyan Bae @pingpingpress as runner
nuel @nuel.pw as music composer
Daniel Donato @danieldonato as color grader
Julia Schmitz @juliasterreschmitz as editor

Stay tuned for the release of the film soon! 📽️💌

Happy to finally share a trailer and some stills from the work in progress of the experimental film me and Hattie Wade (@citizen.obj) are directing on “Be longing” by Michael Rakowitz (@rak_attack_comix) 💚🎬

This mid-length experimental film, evolving from Michael’s public artwork in The Hague, aims to rework Western normative practices of archaeology and history-writing. The dominant narratives that are tied with unearthed objects can become alienating to diasporic communities, frequently excluded from official history. The film excavates and preserves stories from these communities—focussing on collectivity and plurality in the present through alternative storytelling beyond geography and history.

This film is produced with the support of Gemeente Den Haag (@gemeentedenhaag) and Stroom Den Haag (@stroom_den_haag).

Our infinite gratitude goes to Michael for his trust and for welcoming us into a journey that introduced us to so many wonderful new people and communities in the city we call home.

Many thanks to the wonderful Wineke van Muiswinkel from Stroom Den Haag and to Willemijn Goetheer from the Gemeente Den Haag.

Our endless gratitude goes to all the participants portrayed in this film, especially those who so generously shared their intimate stories with us and our cameras, always welcoming even our wildest cinematic ideas with openness and grace. In particular:
Aryewinder Bhagirath @aryewinder
Amber M. Arif @_.iamberry
Hermine van Helden @herminevanhelden
Big OC (Ozon Warning) @warrior_came_out_to_play
Yulia Pattopang @yuliapattopang
Margaret Leidelmeijer @Margaret Leidelmeijer
Frank Kanhai @frank.kanhai

Last but not least, deepest gratefulness to all our friends and crew members who helped (and still are helping!) to make this film possible:
Arianna Cavalensi @arianna_cavalensi on 2nd camera
Lara Varat @lara.varat on lights and 2nd camera
Valentino Russo @timmy_oruss on sound recording
Cyan Bae @pingpingpress as runner
nuel @nuel.pw as music composer
Daniel Donato @danieldonato as color grader
Julia Schmitz @juliasterreschmitz as editor

Stay tuned for the release of the film soon! 📽️💌

Happy to finally share a trailer and some stills from the work in progress of the experimental film me and Hattie Wade (@citizen.obj) are directing on “Be longing” by Michael Rakowitz (@rak_attack_comix) 💚🎬

This mid-length experimental film, evolving from Michael’s public artwork in The Hague, aims to rework Western normative practices of archaeology and history-writing. The dominant narratives that are tied with unearthed objects can become alienating to diasporic communities, frequently excluded from official history. The film excavates and preserves stories from these communities—focussing on collectivity and plurality in the present through alternative storytelling beyond geography and history.

This film is produced with the support of Gemeente Den Haag (@gemeentedenhaag) and Stroom Den Haag (@stroom_den_haag).

Our infinite gratitude goes to Michael for his trust and for welcoming us into a journey that introduced us to so many wonderful new people and communities in the city we call home.

Many thanks to the wonderful Wineke van Muiswinkel from Stroom Den Haag and to Willemijn Goetheer from the Gemeente Den Haag.

Our endless gratitude goes to all the participants portrayed in this film, especially those who so generously shared their intimate stories with us and our cameras, always welcoming even our wildest cinematic ideas with openness and grace. In particular:
Aryewinder Bhagirath @aryewinder
Amber M. Arif @_.iamberry
Hermine van Helden @herminevanhelden
Big OC (Ozon Warning) @warrior_came_out_to_play
Yulia Pattopang @yuliapattopang
Margaret Leidelmeijer @Margaret Leidelmeijer
Frank Kanhai @frank.kanhai

Last but not least, deepest gratefulness to all our friends and crew members who helped (and still are helping!) to make this film possible:
Arianna Cavalensi @arianna_cavalensi on 2nd camera
Lara Varat @lara.varat on lights and 2nd camera
Valentino Russo @timmy_oruss on sound recording
Cyan Bae @pingpingpress as runner
nuel @nuel.pw as music composer
Daniel Donato @danieldonato as color grader
Julia Schmitz @juliasterreschmitz as editor

Stay tuned for the release of the film soon! 📽️💌

Happy to finally share a trailer and some stills from the work in progress of the experimental film me and Hattie Wade (@citizen.obj) are directing on “Be longing” by Michael Rakowitz (@rak_attack_comix) 💚🎬

This mid-length experimental film, evolving from Michael’s public artwork in The Hague, aims to rework Western normative practices of archaeology and history-writing. The dominant narratives that are tied with unearthed objects can become alienating to diasporic communities, frequently excluded from official history. The film excavates and preserves stories from these communities—focussing on collectivity and plurality in the present through alternative storytelling beyond geography and history.

This film is produced with the support of Gemeente Den Haag (@gemeentedenhaag) and Stroom Den Haag (@stroom_den_haag).

Our infinite gratitude goes to Michael for his trust and for welcoming us into a journey that introduced us to so many wonderful new people and communities in the city we call home.

Many thanks to the wonderful Wineke van Muiswinkel from Stroom Den Haag and to Willemijn Goetheer from the Gemeente Den Haag.

Our endless gratitude goes to all the participants portrayed in this film, especially those who so generously shared their intimate stories with us and our cameras, always welcoming even our wildest cinematic ideas with openness and grace. In particular:
Aryewinder Bhagirath @aryewinder
Amber M. Arif @_.iamberry
Hermine van Helden @herminevanhelden
Big OC (Ozon Warning) @warrior_came_out_to_play
Yulia Pattopang @yuliapattopang
Margaret Leidelmeijer @Margaret Leidelmeijer
Frank Kanhai @frank.kanhai

Last but not least, deepest gratefulness to all our friends and crew members who helped (and still are helping!) to make this film possible:
Arianna Cavalensi @arianna_cavalensi on 2nd camera
Lara Varat @lara.varat on lights and 2nd camera
Valentino Russo @timmy_oruss on sound recording
Cyan Bae @pingpingpress as runner
nuel @nuel.pw as music composer
Daniel Donato @danieldonato as color grader
Julia Schmitz @juliasterreschmitz as editor

Stay tuned for the release of the film soon! 📽️💌

Happy to finally share a trailer and some stills from the work in progress of the experimental film me and Hattie Wade (@citizen.obj) are directing on “Be longing” by Michael Rakowitz (@rak_attack_comix) 💚🎬

This mid-length experimental film, evolving from Michael’s public artwork in The Hague, aims to rework Western normative practices of archaeology and history-writing. The dominant narratives that are tied with unearthed objects can become alienating to diasporic communities, frequently excluded from official history. The film excavates and preserves stories from these communities—focussing on collectivity and plurality in the present through alternative storytelling beyond geography and history.

This film is produced with the support of Gemeente Den Haag (@gemeentedenhaag) and Stroom Den Haag (@stroom_den_haag).

Our infinite gratitude goes to Michael for his trust and for welcoming us into a journey that introduced us to so many wonderful new people and communities in the city we call home.

Many thanks to the wonderful Wineke van Muiswinkel from Stroom Den Haag and to Willemijn Goetheer from the Gemeente Den Haag.

Our endless gratitude goes to all the participants portrayed in this film, especially those who so generously shared their intimate stories with us and our cameras, always welcoming even our wildest cinematic ideas with openness and grace. In particular:
Aryewinder Bhagirath @aryewinder
Amber M. Arif @_.iamberry
Hermine van Helden @herminevanhelden
Big OC (Ozon Warning) @warrior_came_out_to_play
Yulia Pattopang @yuliapattopang
Margaret Leidelmeijer @Margaret Leidelmeijer
Frank Kanhai @frank.kanhai

Last but not least, deepest gratefulness to all our friends and crew members who helped (and still are helping!) to make this film possible:
Arianna Cavalensi @arianna_cavalensi on 2nd camera
Lara Varat @lara.varat on lights and 2nd camera
Valentino Russo @timmy_oruss on sound recording
Cyan Bae @pingpingpress as runner
nuel @nuel.pw as music composer
Daniel Donato @danieldonato as color grader
Julia Schmitz @juliasterreschmitz as editor

Stay tuned for the release of the film soon! 📽️💌

Happy to finally share a trailer and some stills from the work in progress of the experimental film me and Hattie Wade (@citizen.obj) are directing on “Be longing” by Michael Rakowitz (@rak_attack_comix) 💚🎬

This mid-length experimental film, evolving from Michael’s public artwork in The Hague, aims to rework Western normative practices of archaeology and history-writing. The dominant narratives that are tied with unearthed objects can become alienating to diasporic communities, frequently excluded from official history. The film excavates and preserves stories from these communities—focussing on collectivity and plurality in the present through alternative storytelling beyond geography and history.

This film is produced with the support of Gemeente Den Haag (@gemeentedenhaag) and Stroom Den Haag (@stroom_den_haag).

Our infinite gratitude goes to Michael for his trust and for welcoming us into a journey that introduced us to so many wonderful new people and communities in the city we call home.

Many thanks to the wonderful Wineke van Muiswinkel from Stroom Den Haag and to Willemijn Goetheer from the Gemeente Den Haag.

Our endless gratitude goes to all the participants portrayed in this film, especially those who so generously shared their intimate stories with us and our cameras, always welcoming even our wildest cinematic ideas with openness and grace. In particular:
Aryewinder Bhagirath @aryewinder
Amber M. Arif @_.iamberry
Hermine van Helden @herminevanhelden
Big OC (Ozon Warning) @warrior_came_out_to_play
Yulia Pattopang @yuliapattopang
Margaret Leidelmeijer @Margaret Leidelmeijer
Frank Kanhai @frank.kanhai

Last but not least, deepest gratefulness to all our friends and crew members who helped (and still are helping!) to make this film possible:
Arianna Cavalensi @arianna_cavalensi on 2nd camera
Lara Varat @lara.varat on lights and 2nd camera
Valentino Russo @timmy_oruss on sound recording
Cyan Bae @pingpingpress as runner
nuel @nuel.pw as music composer
Daniel Donato @danieldonato as color grader
Julia Schmitz @juliasterreschmitz as editor

Stay tuned for the release of the film soon! 📽️💌

Happy to finally share a trailer and some stills from the work in progress of the experimental film me and Hattie Wade (@citizen.obj) are directing on “Be longing” by Michael Rakowitz (@rak_attack_comix) 💚🎬

This mid-length experimental film, evolving from Michael’s public artwork in The Hague, aims to rework Western normative practices of archaeology and history-writing. The dominant narratives that are tied with unearthed objects can become alienating to diasporic communities, frequently excluded from official history. The film excavates and preserves stories from these communities—focussing on collectivity and plurality in the present through alternative storytelling beyond geography and history.

This film is produced with the support of Gemeente Den Haag (@gemeentedenhaag) and Stroom Den Haag (@stroom_den_haag).

Our infinite gratitude goes to Michael for his trust and for welcoming us into a journey that introduced us to so many wonderful new people and communities in the city we call home.

Many thanks to the wonderful Wineke van Muiswinkel from Stroom Den Haag and to Willemijn Goetheer from the Gemeente Den Haag.

Our endless gratitude goes to all the participants portrayed in this film, especially those who so generously shared their intimate stories with us and our cameras, always welcoming even our wildest cinematic ideas with openness and grace. In particular:
Aryewinder Bhagirath @aryewinder
Amber M. Arif @_.iamberry
Hermine van Helden @herminevanhelden
Big OC (Ozon Warning) @warrior_came_out_to_play
Yulia Pattopang @yuliapattopang
Margaret Leidelmeijer @Margaret Leidelmeijer
Frank Kanhai @frank.kanhai

Last but not least, deepest gratefulness to all our friends and crew members who helped (and still are helping!) to make this film possible:
Arianna Cavalensi @arianna_cavalensi on 2nd camera
Lara Varat @lara.varat on lights and 2nd camera
Valentino Russo @timmy_oruss on sound recording
Cyan Bae @pingpingpress as runner
nuel @nuel.pw as music composer
Daniel Donato @danieldonato as color grader
Julia Schmitz @juliasterreschmitz as editor

Stay tuned for the release of the film soon! 📽️💌

Happy to finally share a trailer and some stills from the work in progress of the experimental film me and Hattie Wade (@citizen.obj) are directing on “Be longing” by Michael Rakowitz (@rak_attack_comix) 💚🎬

This mid-length experimental film, evolving from Michael’s public artwork in The Hague, aims to rework Western normative practices of archaeology and history-writing. The dominant narratives that are tied with unearthed objects can become alienating to diasporic communities, frequently excluded from official history. The film excavates and preserves stories from these communities—focussing on collectivity and plurality in the present through alternative storytelling beyond geography and history.

This film is produced with the support of Gemeente Den Haag (@gemeentedenhaag) and Stroom Den Haag (@stroom_den_haag).

Our infinite gratitude goes to Michael for his trust and for welcoming us into a journey that introduced us to so many wonderful new people and communities in the city we call home.

Many thanks to the wonderful Wineke van Muiswinkel from Stroom Den Haag and to Willemijn Goetheer from the Gemeente Den Haag.

Our endless gratitude goes to all the participants portrayed in this film, especially those who so generously shared their intimate stories with us and our cameras, always welcoming even our wildest cinematic ideas with openness and grace. In particular:
Aryewinder Bhagirath @aryewinder
Amber M. Arif @_.iamberry
Hermine van Helden @herminevanhelden
Big OC (Ozon Warning) @warrior_came_out_to_play
Yulia Pattopang @yuliapattopang
Margaret Leidelmeijer @Margaret Leidelmeijer
Frank Kanhai @frank.kanhai

Last but not least, deepest gratefulness to all our friends and crew members who helped (and still are helping!) to make this film possible:
Arianna Cavalensi @arianna_cavalensi on 2nd camera
Lara Varat @lara.varat on lights and 2nd camera
Valentino Russo @timmy_oruss on sound recording
Cyan Bae @pingpingpress as runner
nuel @nuel.pw as music composer
Daniel Donato @danieldonato as color grader
Julia Schmitz @juliasterreschmitz as editor

Stay tuned for the release of the film soon! 📽️💌

Happy to finally share a trailer and some stills from the work in progress of the experimental film me and Hattie Wade (@citizen.obj) are directing on “Be longing” by Michael Rakowitz (@rak_attack_comix) 💚🎬

This mid-length experimental film, evolving from Michael’s public artwork in The Hague, aims to rework Western normative practices of archaeology and history-writing. The dominant narratives that are tied with unearthed objects can become alienating to diasporic communities, frequently excluded from official history. The film excavates and preserves stories from these communities—focussing on collectivity and plurality in the present through alternative storytelling beyond geography and history.

This film is produced with the support of Gemeente Den Haag (@gemeentedenhaag) and Stroom Den Haag (@stroom_den_haag).

Our infinite gratitude goes to Michael for his trust and for welcoming us into a journey that introduced us to so many wonderful new people and communities in the city we call home.

Many thanks to the wonderful Wineke van Muiswinkel from Stroom Den Haag and to Willemijn Goetheer from the Gemeente Den Haag.

Our endless gratitude goes to all the participants portrayed in this film, especially those who so generously shared their intimate stories with us and our cameras, always welcoming even our wildest cinematic ideas with openness and grace. In particular:
Aryewinder Bhagirath @aryewinder
Amber M. Arif @_.iamberry
Hermine van Helden @herminevanhelden
Big OC (Ozon Warning) @warrior_came_out_to_play
Yulia Pattopang @yuliapattopang
Margaret Leidelmeijer @Margaret Leidelmeijer
Frank Kanhai @frank.kanhai

Last but not least, deepest gratefulness to all our friends and crew members who helped (and still are helping!) to make this film possible:
Arianna Cavalensi @arianna_cavalensi on 2nd camera
Lara Varat @lara.varat on lights and 2nd camera
Valentino Russo @timmy_oruss on sound recording
Cyan Bae @pingpingpress as runner
nuel @nuel.pw as music composer
Daniel Donato @danieldonato as color grader
Julia Schmitz @juliasterreschmitz as editor

Stay tuned for the release of the film soon! 📽️💌

Happy to finally share a trailer and some stills from the work in progress of the experimental film me and Hattie Wade (@citizen.obj) are directing on “Be longing” by Michael Rakowitz (@rak_attack_comix) 💚🎬

This mid-length experimental film, evolving from Michael’s public artwork in The Hague, aims to rework Western normative practices of archaeology and history-writing. The dominant narratives that are tied with unearthed objects can become alienating to diasporic communities, frequently excluded from official history. The film excavates and preserves stories from these communities—focussing on collectivity and plurality in the present through alternative storytelling beyond geography and history.

This film is produced with the support of Gemeente Den Haag (@gemeentedenhaag) and Stroom Den Haag (@stroom_den_haag).

Our infinite gratitude goes to Michael for his trust and for welcoming us into a journey that introduced us to so many wonderful new people and communities in the city we call home.

Many thanks to the wonderful Wineke van Muiswinkel from Stroom Den Haag and to Willemijn Goetheer from the Gemeente Den Haag.

Our endless gratitude goes to all the participants portrayed in this film, especially those who so generously shared their intimate stories with us and our cameras, always welcoming even our wildest cinematic ideas with openness and grace. In particular:
Aryewinder Bhagirath @aryewinder
Amber M. Arif @_.iamberry
Hermine van Helden @herminevanhelden
Big OC (Ozon Warning) @warrior_came_out_to_play
Yulia Pattopang @yuliapattopang
Margaret Leidelmeijer @Margaret Leidelmeijer
Frank Kanhai @frank.kanhai

Last but not least, deepest gratefulness to all our friends and crew members who helped (and still are helping!) to make this film possible:
Arianna Cavalensi @arianna_cavalensi on 2nd camera
Lara Varat @lara.varat on lights and 2nd camera
Valentino Russo @timmy_oruss on sound recording
Cyan Bae @pingpingpress as runner
nuel @nuel.pw as music composer
Daniel Donato @danieldonato as color grader
Julia Schmitz @juliasterreschmitz as editor

Stay tuned for the release of the film soon! 📽️💌

Happy to finally share a trailer and some stills from the work in progress of the experimental film me and Hattie Wade (@citizen.obj) are directing on “Be longing” by Michael Rakowitz (@rak_attack_comix) 💚🎬

This mid-length experimental film, evolving from Michael’s public artwork in The Hague, aims to rework Western normative practices of archaeology and history-writing. The dominant narratives that are tied with unearthed objects can become alienating to diasporic communities, frequently excluded from official history. The film excavates and preserves stories from these communities—focussing on collectivity and plurality in the present through alternative storytelling beyond geography and history.

This film is produced with the support of Gemeente Den Haag (@gemeentedenhaag) and Stroom Den Haag (@stroom_den_haag).

Our infinite gratitude goes to Michael for his trust and for welcoming us into a journey that introduced us to so many wonderful new people and communities in the city we call home.

Many thanks to the wonderful Wineke van Muiswinkel from Stroom Den Haag and to Willemijn Goetheer from the Gemeente Den Haag.

Our endless gratitude goes to all the participants portrayed in this film, especially those who so generously shared their intimate stories with us and our cameras, always welcoming even our wildest cinematic ideas with openness and grace. In particular:
Aryewinder Bhagirath @aryewinder
Amber M. Arif @_.iamberry
Hermine van Helden @herminevanhelden
Big OC (Ozon Warning) @warrior_came_out_to_play
Yulia Pattopang @yuliapattopang
Margaret Leidelmeijer @Margaret Leidelmeijer
Frank Kanhai @frank.kanhai

Last but not least, deepest gratefulness to all our friends and crew members who helped (and still are helping!) to make this film possible:
Arianna Cavalensi @arianna_cavalensi on 2nd camera
Lara Varat @lara.varat on lights and 2nd camera
Valentino Russo @timmy_oruss on sound recording
Cyan Bae @pingpingpress as runner
nuel @nuel.pw as music composer
Daniel Donato @danieldonato as color grader
Julia Schmitz @juliasterreschmitz as editor

Stay tuned for the release of the film soon! 📽️💌

Happy to finally share a trailer and some stills from the work in progress of the experimental film me and Hattie Wade (@citizen.obj) are directing on “Be longing” by Michael Rakowitz (@rak_attack_comix) 💚🎬

This mid-length experimental film, evolving from Michael’s public artwork in The Hague, aims to rework Western normative practices of archaeology and history-writing. The dominant narratives that are tied with unearthed objects can become alienating to diasporic communities, frequently excluded from official history. The film excavates and preserves stories from these communities—focussing on collectivity and plurality in the present through alternative storytelling beyond geography and history.

This film is produced with the support of Gemeente Den Haag (@gemeentedenhaag) and Stroom Den Haag (@stroom_den_haag).

Our infinite gratitude goes to Michael for his trust and for welcoming us into a journey that introduced us to so many wonderful new people and communities in the city we call home.

Many thanks to the wonderful Wineke van Muiswinkel from Stroom Den Haag and to Willemijn Goetheer from the Gemeente Den Haag.

Our endless gratitude goes to all the participants portrayed in this film, especially those who so generously shared their intimate stories with us and our cameras, always welcoming even our wildest cinematic ideas with openness and grace. In particular:
Aryewinder Bhagirath @aryewinder
Amber M. Arif @_.iamberry
Hermine van Helden @herminevanhelden
Big OC (Ozon Warning) @warrior_came_out_to_play
Yulia Pattopang @yuliapattopang
Margaret Leidelmeijer @Margaret Leidelmeijer
Frank Kanhai @frank.kanhai

Last but not least, deepest gratefulness to all our friends and crew members who helped (and still are helping!) to make this film possible:
Arianna Cavalensi @arianna_cavalensi on 2nd camera
Lara Varat @lara.varat on lights and 2nd camera
Valentino Russo @timmy_oruss on sound recording
Cyan Bae @pingpingpress as runner
nuel @nuel.pw as music composer
Daniel Donato @danieldonato as color grader
Julia Schmitz @juliasterreschmitz as editor

Stay tuned for the release of the film soon! 📽️💌

Me looking professional participating in the panel talk about the role of art and design in the field of journalism at @arijnetwork annual conference in Amman.
Was an honour to be there and participate in-front of Gaza as a backdrop. Thank you to all the journalists there. You can still donate to ARIJ’s fundraiser to support Gaza’s journalists via their link in bio

Me looking professional participating in the panel talk about the role of art and design in the field of journalism at @arijnetwork annual conference in Amman.
Was an honour to be there and participate in-front of Gaza as a backdrop. Thank you to all the journalists there. You can still donate to ARIJ’s fundraiser to support Gaza’s journalists via their link in bio

Me looking professional participating in the panel talk about the role of art and design in the field of journalism at @arijnetwork annual conference in Amman.
Was an honour to be there and participate in-front of Gaza as a backdrop. Thank you to all the journalists there. You can still donate to ARIJ’s fundraiser to support Gaza’s journalists via their link in bio