Afbeelding 3

Research project and curated by:

Corinne Groot, Zapp Productions

& Tineke Reijnders

website graphic design: Katja van Stiphout

website technical design: Jeroen Vader

Please join us for a programme of performance, talks and interviews on

December 13 2017 at De Appel, Broedplaats Lely auditorium.

Doors open at 16:30, with programme starting 17:00 sharp. releases all of the assembled facts and details about the 44 events and exhibitions held in In-Out Center from 24 november 1972 until the end of 1974. In-Out Center was the first artist-run space in Amsterdam, located at Reguliersgracht 103 and legendary because of its ground-breaking, uncompromising artistic programme.Members of the centre included: Michel Cardena, Raúl Marroquin, Ulises Carrión, Hreinn Fri∂finnsson, Kristján Gudmundsson, Sigurdur Gudmundsson, Hetty Huisman, gerrit jan de rook and Pieter Laurens Mol. Each of these members consecutively invited a guest, or group of guests, facilitating inspiring international exchanges wholly unique for its time.

Afbeelding 2

Afbeelding 6Afbeelding 7Afbeelding 5Afbeelding 4Afbeelding 8Afbeelding

This project is made possible by Mondriaan Fonds, Jaap Harten Fonds and De Appel.

Posted in | Leave a comment


De Wereld van Pyke Koch,

Centraal Museum Utrecht, November 18 2017 – March 28 2018

curator:  Marja Bosma, CMU

exhibition design:

Rob van de Ven & Corinne Groot, Zapp Productions

More pictures will be added soon…

Posted in PYKE KOCH, Uncategorized | Leave a comment


advise, documenting, archiving &

art handling:

Corinne Groot & Rob van de Ven

commissioned by

The Hague, Private Collection, 2016 – 2017

Amsterdam, Artist Estate, 2014 – 2017

Amsterdam, Artist Estate, 2014 – 2017

Posted in PRIVATE COLLECTIONS, Uncategorized | Leave a comment


Marjan Teeuwen, Destroyed House Gaza

a 30 minutes documentary

editing & post production:

Rob van de Ven

Marjan Teeuwen realised Destroyed House Gaza (2016) in the Palestinian territories. The installation is located in Rafah (Gaza), in a building which has been destroyed by human intervention. When this house was hit by a bomb during the 2014 war, all its walls were blown away. Teeuwen dediced to rebuild the house and turn it into an independent artistic statement.

The result is a monumental art work entitled Destroyed House Gaza, in which the forces of construction and destruction battle for priority. Floors have been tilted or caved in. Walls have been removed partly or entirely. Floors drop straight down, becoming vertical or diagonal planes. Stackings (branching out through the building like a virus) cover walls or have been carefully arranged into architectural columns. Everything is both standing and tilted. Everything is on edge. Despite the raw visual language of chaos, demolition and destruction, the result has a highly abstract, minimalist character. Destroyed House Gaza even has a delicate, poetical beauty. For example, Teeuwen gave the house a new, fragile skin of broken pieces, through which the light from outside is softly screened.

Posted in Marjan Teeuwen Gaza | Leave a comment

‘CARDENA, WARMING UP’, Rozenstraat Amsterdam

Cardena, Warming Up, 2017

a rose is a rose is a rose, Rozenstraat Amsterdam May 20 – August 1 2017

curators & exhibition design:

Corinne Groot & Rob van de Ven



With interventions by:

Christian Friedrich, Mauricio Limon de Leon, Freek Wambacq

and Artun Alaska Arasli

‘Warming Up’, is the first posthumous overview of the work of Miguel-Angel Cardenas (1934-2015) in the Netherlands.

Cardenas, who took on the name Michel Cardena when he moved to Holland in 1962, was born and educated in Colombia. Once here he invigorated the Dutch artscene with bold experiments. First, in the early 60’s, in the realm of new realism/pop art, with ‘zipper’ assemblages and drawings. Later, with concept based installation, performance and video-art. Also internationally, the work of Michel Cardena is getting renewed attention. This show takes the chance to level him with Dutch fellow artists like Bas Jan Ader, Jan Dibbets and Ger van Elk.



Cardena’s work deals with the concept of human warmth in various connotations. From social, cultural and culinary warmth, to explicit erotic and sexual heat. By heating up the senses through art he felt the could transform the (Dutch) rational and cold culture into a warm tropical (Colombian) spirit. He even set up a company for its distribution in 1968 called “Cardena Warming up etc. etc. etc. Company”. The logo, which looks like a flower/vagina, adorned his signature jacket and his company van. Heating practice usually involved several techniques, which reappear in all his artworks: supplying thermal heat, heat through food, alcoholic drinks, bodily contact, pornographic texts and sexual imagery.


The first business task he undertook was to heat up the entire family of collectors Agnes and Frits Becht in Hilversum. This attempt failed, as apparent in the video in the exhibition. Although spicy soup was served and the thermostat blazed at maximum strength, the family members ended up shivering cold, wearing fur hats and scarfs, whereas Cardena ended up boiling hot, naked except for his watch and glasses.

One of the pivotal works in this exhibition is ‘Cardena réchauffe Mondrian, Ives Klein et Malewitch’ 1972-1973. Here he warmed up ‘cold’ art. Aided by Hetty Huisman, he made clay versions of archetypical Mondriaan, Yves Klein and Malevich works, rolled them up and grilled them in a Moulinex oven.


Sexuality is a fundamental theme to Cardena’s practice; he once said the essence of his work is ‘hormone-driven’. His video works feature naked bodies in various stages of excitement; the resulting body heat is used as a warming up method to melt ice cubes or transform fluids.

‘Correction of a Catachresis’ (1973-1976) is a beautiful plea for (guilt)free sexuality in all constellations; men-men, women-men, women-women. In this performance and video Cardena promotes that the words fuck, cunt and dick should not be used in a negative sense. By giving out flyers at the Central Station in Amsterdam in 1976 he spreads his own sacred words: ‘Be proud of your sexual body’, ‘Don’t say fuck with a debased intention. Isn’t this a beautiful act?’


In terms of heating up the senses, for Cardena cooking shared first place with sex.
Refined cooking evokes love and warmth in many of his works. His favorite cookbook, ‘Modern Cooking’ by Paul-Henri Pellaprat takes on biblical form in “Cardena reads hot passages from the holy bible and Pellaprat’s modern cookery book’.


Apart from his infatuation with food and sex, Cardena also loved chess. It was interwoven in his daily life but also in his art. In an early performance at In-Out Center he ‘warmed up’ a chess game by Marcel Duchamp and Marshall. In museum Boijmans van Beuningen he played with Dutch chess legend Timman; the sets were laid out with spaghetti sticks, when they were done they were put in a pan, boiled and later served to the public.

The show presents various ‘warming up’ pieces from the 70’s, found in private and public collections. There are some early “zipper” drawings from the 60’s and a range of videos is presented. Cardena is considered a pioneer for his early use of video in an interdisciplinary way, sometimes incorporating dance, and experimenting with technical possibilities.
Documentation is an integral part of the show. There are original photographs of Cardena’s performance in 1969 at Kasteel Drakensteyn, where he warmed up one wall of the royal castle and arranged a ‘symphony for 7 waiters’ in which Prins Claus participated. Also have a look at the menu cards with mouthwatering dishes, to heat up all visitors..



The exhibition is not static and does not solely present Cardena’s work. It is in constant state of flux; several young artists will react to Cardena’s work and their interventions will reshape the show every few weeks.
Christian Friedrich, Mauricio Limón de León, Freek Wambacq and Artun Alaska Arasli are invited to intervene with the main exhibition. Each of them will have their own intervention for a period of two weeks which creates a continuously changing perception of Miguel-Angel Cardenas work.


Christian Friedrich


Mauricio Limón de León


Freek Wambacq


Artun Alaska Arasli


Posted in CARDENAS | Leave a comment


Martin Margiela ‘Exhibition 9/4/1615’,

Museum Boijmans, Rotterdam, 1997

Video footage from Zapp Magazine #10, Oct. 1997

camera & editing:  Rob van de Ven, Zapp Magazine

for the documentary ‘We Margiela’

a film by: Menna Laura Meijer,

premiering October 22 2017



Posted in zapp magazine footage | Leave a comment


L.A. Raeven, Goodly Creatures, 2017

Ellen de Bruijne Projects, Amsterdam, March 04 – April 08  2017

camera & editing:

Rob van de Ven, Zapp Productions / Zapp Magazine

The exhibition “Goodly Creatures” is a follow up of L.A. Raeven’s exhibition at Museum Arnhem Wild Zone 3 (14/01–05/03/2017). In this gallery show L.A. Raeven are presenting their video “Goodly Creatures”, which was not on show in Museum Arnhem, as well as a new series of photographs made during the production of the installation Wild Zone 3 and a series of drawings.

Wild Zone 3
In Wild Zone 3 L.A. Raeven styled the appearances and choreographed the movements of a group of children. The similarities in how they look creates the impression that they are members of an androgynous sect: they are extremely tall, wear the same clothes, and it is unclear whether they are boys or girls. The artist duo portrays a kind of autonomous ‘wild zone’ for young people who evoke fear in the viewers because they are ‘different’. The youngsters do not conform to the prevailing notions of femininity and masculinity, and seem to be forever adolescent.

Wild Zone 3 is a sequel to Wild Zone 1 (2001) and Wild Zone 2 (2002), the video installations in which L.A. Raeven created a ‘state of being’, and, without a plot, filmed two similar, almost motionless individuals. Wild Zone 3 stems from the duo’s fascination for the new type of human that they see coming into existence. L.A. Raeven: ‘Men and women look more and more alike, and the body is increasingly being manipulated to our liking. The malleability of the body seems to know no bounds and is increasingly accepted as normal. For example, small children are given growth hormones if they are too short; this is a choice made by the parents who decide about the life and career of their offspring.

Posted in Uncategorized | Leave a comment