– MIDNIGHT JUMP – Hreinn Fri∂finnsson

Working with Hreinn and his super assistants Hrafnhildur & Halla on


at Rozenstraat a rose is a rose is a rose, Amsterdam

opening February 15 2020  5 – 7pm

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– MIDNIGHT JUMP – Hreinn Fri∂finnsson

Zapp Magazine Corinne Groot & Rob van de Ven are curating

– MIDNIGHT JUMP –  Hreinn Fri∂finnsson

at Rozenstraat –  a rose is a rose is a rose, Amsterdam

February 15 – April 4 2020

opening Saturday February 15   5 – 7 pm1975,1976 1975-2018

Hreinn Friðfinnsson (1943) uses the Rozenstraat – a rose is a rose is a rose as a stage to transform time, space, objects, the rational and irrational into captivating miracles. Jump along and immerse yourself into his universe!

Friðfinnsson‘s conceptual work has been characterized as poetic and playful, dealing often with storytelling, nature and time. It can be almost anything: a photograph, a story, a tracing, a mood, a quasi-scientific experiment, a tear or a secret. A split second up in the air between the years 1975 and 1976, one shoe searching for the other one to form a pair, spiderwebs from the studio caught between glassplates, a pressed autumn leaf. Simple everyday objects or moments are used in a poetic and evocative way, simultaneously prompting confusion and delight.

Friðfinnsson‘s works are often structured around dualities and reversals – between left and right, past and present, near and far, inside and outside, empty and full, light and shadow, seen and unseen, cognition and perception, dreams and waking reality. Hence Fridfinnsson’s frequent employment of mirrors, which not only reflect (and thereby double), but also reverse that which has been doubled. Mirrors also play tricks with perception of space, as in a site specific installation for the Rozenstraat where the columns are visually levitated and seem to float in infinity. A doubling twist is also apparent in Friðfinnsson‘s playful use of text, manipulating images by pairing them with a narrative. Other motives in his work are a link to his Icelandic roots and tributes to artists.

Both in form and content Friðfinnsson‘s work is hard to pin down. There’s a transformative quality, always a surprise lurking around the corner. The works remain in state of flux even after their conception, often older works are re-used or expanded upon. Not even titles are stable in Friðfinnsson‘s practice. His assistents made up a word to describe this re-titling (an archival nightmare): Titlaflakk. Titla is ‘title’ in icelandic, flakk is ‘wandering’.

The exhibition in Rozenstraat – a rose is a rose is a rose presents a selection of works from the late 60’s to now, with the focus on the start of his career in the 70’s and the latest works. The exhibition includes photographs, drawings, paintings, videos, text, sculpture, installation and ready-mades. There is a selfportrait from his first show in Iceland, text and image based works from the 70’s, documentation of his involvement with artist run spaces in Iceland and Amsterdam (Sum, In Out Center, Fignal) and documentation of Friðfinnsson‘s famous secrets project.

There are a few new presentations that have been made specifically for this show. Friðfinnsson returns to his mythical House Project, a project based of the story of an old eccentric Icelander who intended to build a house inside out. In 1974 Friðfinnsson built the house based on the story in a remote area of the Icelandic volcanic tundra. Inversed, the wallpaper, curtains and framed pictures hanging on the outside, the house thereby contained the whole world, except itself. Since 1974 Friðfinnsson has returned to the work and developed new chapters in the life of the house thereby maintaining the mythology around it and adding new layers. The last episode of the project, the Fourth House, was shown at Skulptur Projekte Münster in 2017. For the Rozenstraat a presentation is commissioned that encompasses the complete House Project. The project will be discussed in depth during a special event (see events).

Friðfinnsson might well be Amsterdam’s best kept secret. Famous abroad as one of the most influential artists of Iceland, inspiration to young artists internationally, but hardly known here (although in his neighborhood he is well appreciated as Mister Finson). It’s certainly time now to celebrate the artist in his hometown, where he started in the seventies as part of the experimental art circuit and continues to develop his artistic vocabulary into ever expanding unknown territories.

Born in 1943 in Baer Dölum, Iceland, Hreinn Friðfinnsson has been living in Amsterdam since 1971. Hreinn Friðfinnsson was co-founder of the Icelandic avant-garde artists’ collective SÚM in 1965. From 1972 to 1974 he was a member of In Out Center, the first artist run space in Amsterdam. In the same period until 1980 he also ran a very small gallery named Fignal with Hlif Svavarsdottir, at their home at the Kerkstraat and later the Banstraat in Amsterdam. Just recently Friðfinnsson’s career was highlighted in a major traveling retrospective To Catch a Fish with a Song: 1964-Today, at KW Institute of Contemporary Art in Berlin and Centre d’Art Contemporain in Geneva. For this occasion Hreinn Friðfinnsson: Works 1964-2019, a catalogue raisonné has been published by Koenig Books. The book will be available at the in-house bookstore San Serriffe during the exhibition period at Rozenstraat / a rose is a rose is a rose. Friðfinnsson has exhibited internationally since the 1970s. He had solo exhibitions at respected institutions such as the National Gallery (Reykjavík), the Serpentine Gallery (London) and Bergen Konsthall (Norway). Amsterdam based venues such as Gallery 845 (1970’s), Galerie van Gelder (1990’s), Kunstverein (2015) and Eenwerk (2018) have also hosted solo shows.

Hreinn Friðfinnsson is represented by Galería Elba Benitez (Madrid), Galerie Nordenhake (Berlin, Stockholm, Mexico City), i8 Gallery (Reykjavik), Meessen De Clercq (Brussels).

Midnight Jump is curated by Corinne Groot and Rob van de Ven (Zapp Productions).

The exhibition is made possible by the Mondriaan Fund and AFK.

Special thanks to the 4 H’s: Hreinn for everything, Hrafnhildur Helgadóttir and Halla Einarsdóttir for the smooth studio production and expertise on Fridfinnsson’s archive, Hlif Svavarsdottir for lending some beautiful time-worn masterpieces.

Midnight Jump

Opening Saturday February 15 17:00 – 19:00.

Rozenstraat 59, 1016 NN Amsterdam

Visiting hours: wednesday- saturday 13:00 – 18:00


February 18: House Project, Lectures by Cassandra Edlefsen Lasch and Annabelle von Girsewald on Hreinn Friðfinnsson’s House Project.

February 20: Styrmir Orn Gudmundsson, Performance The Red Eyed Artist Assistant. A lyrical storytelling performance by Styrmir Örn Guðmundsson about the experience of working as an artist’s assistant for Hreinn Friðfinnsson.

March 22: Home galleries, an informal meeting to discuss the concept of home galleries, moderated by Noor Mertens with Hreinn Fridfinnsson, Hlif Svavarsdottir, Dorothé Orczyk, Corinne Groot, Sylvia van Berkel and others.

March 26: Fridfinnsson’s Video Night.

April 1: Anecdotes from the archive, tour through the exhibition by Hrafnhildur Helgadóttir and Halla Einarsdóttir.


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Zapp Magazine, retrospective of a videozine
30.10 – 29.11.2019 Kunstverein Milano

Join us for the opening of ZAPP Magazine Video Archive Tuesday 29 October 2019 6pm presentation with founders of Zapp:

Corinne Groot & Rob van de Ven

7pm Opening & 90s playlist by ZAPP and DJ Matteo Saltalamacchia

The ZAPP archive remain on view from 30 October – 29 November 2019
at Kunstverein’s TABSP Milan
Via Procaccini 4, Milano

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September 21 the Fourth Zapp Night in Amsterdam

Launch of NOW a performance platform by

Petros Panagiotis Orfanos

As far as I’m concerned, we can see Ancient Greece as one of the notable starting points of performance, where philosopher Diogenes the cynic used his body as a medium in performative acts. Diogenes urinated on people, masturbated in public, defecated in the theatre. Diogenes praised the dog virtues and decided to live like one. Dogs live in the present – in the NOW – without anxiety and give an honest bark at the ‘truth.’

We have to inform people well in advance when a performance or exhibiton will take place. Isn’t it the embodiment of absurdity that you know in advance that a performance will take place next month? With the performance program ‘NOW’ I want to ignore the agenda and embrace the NOW. ‘Performances’ will be anounced on the same day. Sometimes one will have the opportunity to visit it two days, yet, I mainly emphasize one-day programs. NOW always changes venues. One will never know where the event of NOW will take place, by whom and when, except on the day itself (If you want to be on the mailinglist of NOW, write an email with your full name to petrosorfanos@hotmail.com

ZAPP Magazine (Corinne Groot and Rob van de Ven) has been so kind to offer their house on the 21st of September for the launch of performance platform NOW. Inconsistent of me that this invitation is already sent in advance, yet, its in the name of my farewell to the agenda, to use it for the last time.

We will celebrate NOW and launch NOW on the 21st of September
19:00 SHARP @ ZAPP Magazine, Gillis van Ledenberchstraat 4A, 1052 VG Amsterdam

Performances, lectures, talks, poetry readings by

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Third ZAPP Night 2019 in Berlin ZAPP MAGAZINE ARCHIVE at Kunst-Werke Berlin

Join us Wednesday August 14  9 pm at KW Courtyard

for a screening and Q&A with Corinne Groot,

Rob van de Ven and Kathrin Bentele

<p>Video stills from the Zapp Magazine’s archive, from top left to bottom right: Paul McCarthy, <em>Bossy Burger,</em> 1991; Rita Ackermann, <em>Zapp Magazine #5,</em> 1995, cover detail; Klaas Kloosterboer, <em>Ballast,</em> 2001; Vanessa Beecroft, performance during groupshow “ID” at Van Abbemuseum, Eindhoven (NL), 1996</p>

Video stills from the Zapp Magazine’s archive, from top left to bottom right: Paul McCarthy, Bossy Burger, 1991; Rita Ackermann, Zapp Magazine #5, 1995, cover detail; Klaas Kloosterboer, Ballast, 2001; Vanessa Beecroft, performance during groupshow “ID” at Van Abbemuseum, Eindhoven (NL), 1996

Founded in 1992 and produced until 1999, ZAPP Magazine was a videozine run by a group of Amsterdam, The Hague and New York based artists and curators, Corinne Groot, Jack Jaeger, Arnold Mosselman and Rob van de Ven. A total of twelve issues published, each containing footage of up to 90 minutes, ZAPP Magazine started out as an amateur, home-movie styled format to review, narrate and share art shows, poetry readings and all kinds of art related topics and gossip in New York, Paris, London, Berlin, Copenhagen, Amsterdam, and many more places. Declaring an informal, casual approach, ZAPP Magazine aimed to get closer to the filmed material than any print review, accompanied by usually one image of the work, would do–showing social context, off-the-record or behind-the-scenes-talk, and principally, giving a voice to the artists. The voice of the “critic” seems more or less shut, these documents instead seem to map without scrutinizing, providing a buzzy chronic of 1990’s artists and topics who formed much of an international art discourse at the time, and still do.

What initially had been a rather private keeping of records turned into something distributed for sale through selected bookstores and galleries worldwide once issue #0 was released. Supported by an international network of artists and curators sending in contributions and sharing footage, ZAPP Magazine portrayed thoughts, work and exhibitions by artists such as Eleanor Antin, Charles Atlas, Kathe Burkhart, Constance DeJong, Lukas Duwenhögger, Nicole Eisenman, Felix Gonzalez-Torres, Dan Graham, Karl Holmqvist, On Kawara, Mike Kelley, Karen Kilimnik, Germaine Kruip, Yayoi Kusama, Sarah Lucas, Philippe Parreno, Julia Scher, Lily van der Stokker, Paul Thek, Rirkrit Tiravanija, and many more.

The screening will present an approximately 50 minutes selection from ZAPP Magazine’s archive, followed by a talk with founding members Corinne Groot and Rob van de Ven.

Corinne Groot and Rob van de Ven are based in Amsterdam. They run ZAPP Productions which is involved with curating and designing exhibitions, artist video productions and research of artist archives, among others.

Moderated by Kathrin Bentele, assistant curator at KW Institute for Contemporary Art

KW Institute for Contemporary Art
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on this 2nd ZAPP night in 2019 we’re proud to present

Marja Samsom

at the Zapp Magazine office in Amsterdam, 8pm

Marja Samsom (#MBhave) is a conceptual and performance artist born in the Netherlands, living and working in New York since the 1980s. Samsom is a storyteller, pushing the bounds of performance through the construction of long-term artistic personae. Combining film, photography, poetry, and objects, ignited with humor and sound, she creates identities that are at once female and androgynous, drawing from both biography and fiction. Samsom continues to develop performances and video works centered on artistic personae stemming from the 1970s, including Miss Behave, Miss Kerr, Madame Hulot en vacances, and Marja van Marken, among others.

Recent solo presentations include Miss Behave, a scripted environment and set of performances in NY at Participant Inc; Shrine, a residency, radio program, and exhibition at Clocktower; and a series of interconnected performances at Berlin (25 Ave A, New York). The 2015 publication Diary of a Forgotten Actress 1972-79, produced with Inez van Lamsweerde and Vinoodh Matadin, presents fragments from the life of Miss Behave and Miss Kerr. #MBhave has long experimented with the printed form. Over time she has created print interventions for General Idea’s FILE magazine, FURORE, Artforum, Flash Art, Art in America, and the Centraal Museum Utrecht, as well as the cover art for Steve Lacy’s 1974 album Lumps and Maarten Altena’s Handicaps (1973).

Samsom began making performances, Super-8 movies, Polaroids, poetry, and installations during the 1970s in Amsterdam. During this time she presented and performed work at venues including De Appel Arts Centre, Centraal Museum Utrecht, Galerie Riekje Swart, Bertha Urdang Gallery, Hal Bromm Gallery, and Franklin Furnace. From the 1980s, over the course of two decades, Samsom took on the long-term identity of undercover artist and Flavor DJ for her salon space and performance piece, The Kitchen Club.

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NRC article about Kunstverein Amsterdam

Zapp Magazine Video Archive at Kunstverein Amsterdam

until April 6

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As part of the Zapp Magazine Video Archive presentation at Kunstverein Amsterdam, Kunstverein organized the Zapp Magazine Club Night. We invited artists whom we worked with before to contribute with a work or a performance during this night. We had a great Line up: Aernout Mik, Karl Holmqvist, Kathe Burkhart, Sean Dower and Hannah Polak performing Annika Ström’s Ten New Love Songs.

Karl Holmqvist

Aernout Mik

Hannah Polak

Kathe Burkhart

Sean Dower

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ZAPP MAGAZINE CLUB NIGHT February 20 2019 invite

When was the last time you found yourself in a space where the ceiling was just a little bit too low, the music a little too loud, the drinks warm and everyone smoking, singing along to ‘A Hard Day’s Night’ between breaths… Without wanting to bring out too much of the nostalgia, we would like you to join us for the second Club Night* hosted by Kunstverein, at Cinetol.

This time the event is centered around Zapp Magazine, a (initially) quarterly magazine on VHS videotape which allowed you to watch exhibitions from the comfort of your own couch. The parts you didn’t like you could fast-forward through, the ones you did you could watch on endless repeat. It was an initiative by Corinne Groot, Jack Jaeger, Arnold Mosselman and Rob van de Ven. With the help of correspondents from all over the world Zapp had eyes and ears everywhere and covered exhibitions, performances and… afterparties!

While you can binge-watch all the original tapes in the exhibition featuring the full Zapp Magazine archive at Kunstverein until April 6, we invite you to experience the performative work of a few artists featured in the video tapes, live on stage during our second Club Night at Cinetol on February 20.

With Kathe Burkhart (Zapp #0 & 1) reading from xx, Sean Dower (Zapp # 3 & 4) introducing a new musique concrète composition titled 331/2, a performance by Karl Holmqvist (Zapp #3 & 4), a tentative appearance by Aernout Mik (Zapp #6 & 9) , and a stand-in performance by Hannah Polak of Annika Ström hit ‘I Don’t Know What to Sing’ guided by casio-piano. Cosy Camping will provide tunes before and after.

During the event we will also screen extra footage from the Zapp Magazine archive, including footage from Lothar Hempel’s Lotusclub, selected by Rob van de Ven en Corinne Groot to set the scene.


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