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Welcome to Blog and website of G-netwerk

12/28/2011

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Picture
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This page is a blog on recent activities,
Tabs above to find All information





Foto: REFORMATION 80 minutes,
Premiere IDFA 2011



Overview 2011:

IDFA
2011 REFORMATION Documentary       and        Video Installation MONT AGE
REFORMATION by Jeanette Groenendaal at IDFA 2011
MONT AGE by ZOot Derks at IDFA 2011

Press 2011
SEE.NL
NRC
IDFA Daily 20 november
IDFA Daily 25 november


Performance 2011 Audiance Participation Rituals
November 2011 Eye Moves: The Balcony, Jeanette Groenendaal, Eye FilmInstitute Museumnacht 
June 2011 Don't Go Into the Light, Jeanette Groenendaal, North By North West Festival, Eye FilmInstitute

Exposition
2011
TIMELINE CRITICISM, Zoot Derks, De Brakke Grond, Februari 2011
7 VASTAL VIDEO SERIES with Adam Zaretsky and G-netwerk
November- december 2011 VERBEEKE GALLERY Belgium


Other screenings 2011
DUTCH COCAINE FACTORY DasArts OPen days/ Rietveld Academy/ ONLINE
DRAMAYAMA Moodpad: North By Northwest Festival, EYE filmInstitute
Pre- enactment: North by Northwest Festival Eye FilmFestival
TIMELINE CRITICISM  Rietveld Academy
MONT AGE  KASK Cinema Gent

Masterclass 2011
Realities Revisited, Kask Cinema Gent
CCC Rietveld Academy
Stendhall

Scenario Research
2011
Dramayama; december 2011- april 2012;
with  Grant from the Netherlands FILMFUND


ONLINE Exhibition 2011 DUTCH COCAINE FACTORY

DocAlliance
Ximon

In production from 2011-2012
BioArtCamp trailerwith Jennifer Willet
BioArtCAMP Exposition Video
Labyrinth Psychotica with Jennifer Kanary
PIGBANK registrations with Space
Arts and Genomics Awards KNAW and Waag Society

Commissioned works 2011;
HEIM verANDERt With Moving Arts Project
KUNST EN DEMENTIE with Elshout en Verhave
The Sevent Trumpet with Jihyun Youn
ROUTES AWARD with European Cultural Foundation
"NEIGHBOURHOOD" with European Cultural Foundation
Casa Verde, Moraira Spain

Camera 2011
The Critical Piece, by Jochen Stechmann
WETLab Waag 2011



Supported by
Fonds BKVB
AFK
FIMFUNDS Netherlands



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7 VASTAL VIDEO SERIES by G-netwerk; Now in VERBEEKE GALLERY Belgium

12/10/2011

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_VASTAL Video series  VERBEEKE Gallery
The Vivoarts School for Transgenic Aesthetics Ltd.
08.12.2011, 18.00   Free entrance     Nocturne Art Galleries, Antwerp


VASTAL's labs:

Art for Non-humans Lab, 2009
Transgenic Embryology Lab, 2009
Body Alterity Lab, 2009
(De)Mystified Bioinformatics Lab, 2009
Tissue Culture Sculpture Lab, 2009
Hybrid DNA Isolation Lab, 2009

Seed Bombing Lab, 2009


Towards a Public Practice of Intentional Genetic Modification (IGM)
Ecology and EcoArt, Ethology and Animals in Art, Embryology and Mutagenic Art, Gastronomy and Edible Art, Tissue Culture and Disembodies Flesh Art, Bioinformatics and DNA Literary Studies and Physiology and Body Art.
VASTAL, The VivoArts School for Transgenic Aesthetics Ltd. was formed in 2009 in order to make hand-on biotechnology labs more accessible to the public and to teach do-it-yourself genetic engineering of the human germline.

ADAM ZARETSKY

Adam Zaretsky is a Wet-Lab Art Practitioner admixing Ecology, Biotechnology, Non-human Relations, Body Performance and Gastronomy. Politically, Zaretsky focuses on legal, ethical, social and libidinal implications of biotechnological materials and methods: Fecund Assisted Reproductive Technology and Transgenic Edification Architecture. Currently he is co-creating Mutate or Die with Tony Allard: a live cut-up, biolistically impinging on life through the creative misuse of a Helios gene gun loaded with DNA from the William S. Burroughs Microbiome Project (WSBMP.) He is also participating in the Waag Society's StudioLab, researching Solar Zebrafish - the research intends to produce chloroplast microinjected, genetically modified, photosynthetic plant-animal hybrids whom are then subjected to larval ethological personality studies. Zaretsky is the headmaster of VASTAL (The Vivoarts School for Transgenic Aesthetics Ltd.) and is currently completing his Ph.D. in Art Practice, Integrated Electronic Arts at Rensselaer (I/EAR), Rensselaer Polytechnic Institute.

INFO-CONTACT
Leopold de Waelstraat 37
2000 Antwerp
Belgium
simon [at] verbekegallery.com
+32 (0)493 07 81 53
www.verbekegallery.com


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Zoot Derks Speaker at Masterclass

12/6/2011

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Picture
MASTERCLASS

REALITIES REVISITED PART 2: BIOPIRACY AND LIFEBOATS
DECEMBER 14TH, 2011 | 13:30 – 17:30 |

KASK CINEMAAN AFTERNOON ON THE COMMERCIALIZATION OF NATURE


Presentations and discussions. With Johan Grimonprez, Prof. Sigrid Sterckx, Field Liberation Movement, Agency, FoAM, Zoot Derks, Robrecht Vanderbeeken (moderator) and you, the audience.


India recently started legal proceedings against Monsanto. For the first time in history a country has brought charges against a multinational for “bio piracy”: the theft of indigenous plants. First, genetically modified varieties are produced, and then the local population, or the land where the plants initially come from, is denied the right to use the name as well as sell the plants. Without any compensation. Without taking into account the immense dangers of gmo’s for biodiversity and the environment.


 In this masterclass, philosophers and artists discuss the malicious commercialization of our nature. Together with an explanation of the disastrous consequences of a privatization of our common heritage – seeds, raw materials, agricultural techniques, etc. – alternatives are also addressed, such as combating gmo’s, guerrilla gardening, transition towns, and the importance of local, sustainable agriculture.


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IDFA dagkrant 25 11 2011

12/6/2011

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Bevroren herinneringen aan misbruik



Jeanette Groenendaal maakte een experimentele documentaire vanuit haar bevroren herinneringen aan seksueel misbruik. 'Het is alsof het gisteren gebeurde.'

Bevroren herinneringen, noemt Jeanette Groenendaal ze. Momenten die haarscherp op haar netvlies prijken, maar waarvan de bijbehorende verhalen ontbreken. De documentairemaker/beeldend kunstenaar/feminist groeide op in een afgelegen dorpje op de biblebelt, waar haar schoolmeester haar op zevenjarige leeftijd seksueel misbruikte.

'Ik zie alleen nog zijn gelige sigarenvingers voor me. Heel levendig, alsof het gisteren gebeurde. De rest heb ik verdrongen. Dat schijnt normaal te zijn bij traumatische herinneringen. Je hebt een foto, zonder te weten hoe je erin terechtkwam of hoe het afliep.'

Zondebokmechanisme
Groenendaal stond met Reformation dus voor een lastige opgave. Hoe breng je in beeld wat je je niet meer volledig voor de geest kunt halen? Ze wist vanaf het begin dat de film geen afrekening mocht worden met de streng protestantse dorpelingen. 'Ik voelde geen behoefte om met de camera mijn leraar te bezoeken en hem met zijn daden te confronteren. Dan had ik me van hetzelfde zondebokmechanisme bediend als het geloof. Nee, ik wilde het publiek mijn gevecht met het verleden laten voelen. Het ging me niet om de objectieve, maar om mijn subjectieve werkelijkheid.'

Groenendaal bouwde Reformation op vanuit de foto's uit haar geheugen. Ze tekende ze na op storyboards, die als inspiratie dienden voor de performers met wie ze terugkeerde naar haar woonplaats. Op boerderijen, in weilanden en op straat gingen zij met Groenendaals bevroren herinneringen aan de slag. 'De scènes ontstonden puur improviserend. De performers repeteerden niet en deden nooit iets over. De dorpelingen die bleven staan, waren het publiek bij onze spontane voorstellingen. Ik legde alles vast met mijn camera.'

Dissociatief
Puristen zullen vinden dat Groenendaal vervaarlijk richting fictie schuift, maar zelf spreekt ze van een documentairemethode die zwaar leunt op het experiment. 'Ik monteerde de film ook niet als rechtlijnig narratief. De structuur is dissociatief, geheel in lijn met mijn herinneringen. Ik beschouw mezelf als een stotterende filmmaker. Verstaat een publiek dat gewend is aan marketable vertelde verhalen mijn beeldtaal? Dat is mijn onderzoek.' (NB)

Reformation – Jeanette Groenendaal.
Zo 27 14.15 uur Tuschinski 2. http://idfa.nl/nl/nieuws/dagkrant/nieuws-van-de-dag/bevroren-herinneringen-aan-misbruik.aspx

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