menu       about, program, contact


mistral amsterdam

mistral is a space formakingconstellations,inspired by collecting as an activated state of being, that potentially never settles. mistral is also a space to hang out and to be in conversation—shared with people and collectives in kinship.
We are situated on the ground floor overlooking the water on the west corner of Pakhuis Wilhelmina in Amsterdam. We’re open every Thursday and Friday from 12.00–17.00, or by appointment.





about


With the wind of the same name, mistral shares the capacity to uncover and amass content, while being aware of the dynamic and circular processes of this act of accumulation.
mistral is interested in the concept of collection not as a noun, but as a verb: a collection could endlessly be assigned significance depending on how it is contextualized and who interacts with it. A collection doesn’t only involve ‘things’, but also caretakers, ephemeral matter and relationships. Rather than exclusivity being the conclusion, we prefer to embrace the complexity and abundance from which things are accumulated.
mistral aims to work with specific kinds of collections—both private as well as institutional, within visual arts and beyond, organized or messy—as a way to engage and make public the urgency and community that has made that collection possible, and meaningful.

mistral has been initiated by Radna Rumping and Huib Haye van der Werf.





program


current display


As an interval to the current state of hibernation all around us, a selection of website works by Damon Zucconi is being screened now in the front window of mistral.
These works have no fixed duration. They adapt to the resolution of the screen they are presented on changing in scale, or altering their compositions entirely to occupy space. They’re presented in no order. They’re accessible online for no audience in particular.
The chats are dumbed down models of conversational cul de sacs. They utilize a sculptural representation of the hand to simulate mistyped input: humanization; a kind of ergonomic layer for chat bots.
The dictionary works present definitions without their corresponding terms. Split up into parts of speech they also offer up dumbed down models, but more broadly: of object, of action, of qualia. All dictionaries are circular documents, dependent on some kind of order—these renounce it.
The consecutives take short fragments of text and place a roving character window over them. “Rivers”, “lakes” and “holes”—this is the terming that typographers use to describe failures in control over the reader’s eye.
The edge transfers simply pull apart two images on the left and right and pass them back and forth, embedding each in its opposite. A conjurer’s hands.
The endless repetition of their content and presence online, along with their noncommittal characteristic towards their audience, and reprogrammed order, make these pages abstract platforms for different constellations of meanings (academic, scientific, otherwise). Meaning that seems reconfigured. Poetic even. Words and patterns formed from an abundance of possibilities.
The selection for mistral can best be admired from the magic hour until early dawn (or until curfew if/when this is applicable). Also, from the comfort of behind your own screen via this link.
And a complete list of all of Damon Zucconi’s website works can be found via his own website.


next


Sands Murray-Wassink
In Good Company (Horsepower): Materials from the Gift Science Archive, 1993–present 1,2
6 March–9 May 2021

This spring mistral and If I Can’t Dance present In Good Company (Horsepower): Materials from the Gift Science Archive, 1993–present, an exhibition opening up the process of Dutch American artist Sands Murray-Wassink’s ‘monumental’ 18-month performance Gift Science Archive to the public for haptic engagements with the artist’s working and archiving process.

A queer cult figure in the Amsterdam art scene for nearly two decades, Sands Murray-Wassink (b. 1974, Topeka, Kansas) is a painter, body artist, writer and perfume collector indebted to various forms and permutations of intersectional feminist and queer art, with Carolee Schneemann, Hannah Wilke and Adrian Piper serving as key coordinates. As Murray-Wassink has moved in and out of institutional visibility over the years, his archive of art and non-art ‘studio objects’ has continued to grow. For his current commission with If I Can’t Dance, the artist has chosen to work with this massive collection of materials to create Gift Science Archive, a durational performance with different chapters, including archiving activities, process events, performances and exhibitions.

Working with a collaborative team at the Rijksakademie van Beeldende Kunsten since October 2019, Murray-Wassink’s project has become a collective performance of archiving, an intergenerational process of remembering, and an experiment in re-thinking value production. In Gift Science Archive, emphasis is placed on the webs of social relations that hold objects together in affective fields, rather than on discrete artworks. The performance thus asks us: where does the value of the (art) object reside? What is the value of the relations that (art) objects create? What is the connection between relational value and commodity value? How do we evaluate friendship? What is the value of feelings?

The exhibition In Good Company at mistral follows from these questions, and from Murray-Wassink and the Gift Science Archive’s collecting and collective ethos. With over 2000 ‘studio objects’ now unearthed through the performance, the exhibition shares for the first time bodies of work and stacks of ephemera—including objects, documents, print materials, performance relics and more—dating back to 1993 when the artist began to develop his studio practice. Together with members of the Gift Science Archive team and mistral, visitors are invited to peruse the database and to pull materials from the archive for a closer look and a story. The ‘research experience’ is thus set into relational motion, and storytelling is taken up as a primary, valid and valuable mode of knowledge production and transmission.

We hope to hold your company soon.

Image caption: Sands Murray-Wassink, Big Pumpkin Series #65 (stamen) (2009). Photoprint of digital color image, 15x20cm. Performalist self-portrait from the Big Pumpkin Series of 92 digital images. Photo: Robin Wassink-Murray.

1   VISITOR INFORMATION
Exhibition opening hours: Thursday to Saturday 12–17hr and by appointment.
Visitors are kindly asked to register for one-hour archive visits. Please note: registration will be required for entry.
The visitor registration will be opened when this is allowed again according to the RIVM guidelines. Find the latest information on this website and at ificantdance.org, or e-mail us for any inquiry.

2   CREDITS
The exhibition is co-curated by Radna Rumping and Huib Haye van der Werf (mistral, Amsterdam) together with Megan Hoetger (If I Can’t Dance, Amsterdam). The exhibition is in relation with mistral’s focus on making constellations, inspired by collecting as an activated state of being, and our programme Staying with abundance.
  Gift Science Archive is a commission of If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution and is supported by the Rijksakademie van Beeldende Kunsten, Amsterdam. The project is curated by Megan Hoetger as part of the If I Can’t Dance’s Edition VIII—Ritual and Display programme. If I Can’t Dance is an Amsterdam based art organization dedicated to exploring the evolution and typology of performance and performativity in contemporary art. For further information, visit ificantdance.org.



2020 summer hangouts


  Find more info here.




mistral amsterdam


contact


email info@mistral.amsterdam
instagram @mistral.amsterdam
facebook /mistral.amsterdam


mistral


Pakhuis Wilhelmina
Groenhoedenveem 2
entrance round the corner at veemkade
1019 BL Amsterdam
The Netherlands

mistral amsterdam




design Karoline Swiezynski