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Business as Usual

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A weekend with Jimini Hignett and Patricia Schor
 
Reading group Friday September 15th, Presentation Sunday 17th September.
 
Reading group 18:00 -22:00
Presentation 14:00-18:00
Price: 20 euros p.p.
 
(Raw-Vegan lunch is not included, the price is 25 euros, if you want to reserve a lunch please order beforehand)
 
Jimini Hignett works under the umbrella title – How To Go On – Making Art When Everything is All Fucked Up. Visual artist, writer, activist. One of her current activities include working as a volunteer ‘crisis-buddy’ for a refuge for trafficked women. For several years Hignett’s work has been concerned with the topic of prostitution. This work includes: Handle With Care video installation (with Patricia Kaersenhout) in Tropenmuseum Amsterdam and in Dakar, Senegal; Todo Sigue Igual solo exhibition in Museo de la Mujer, Buenos Aires; Un Quilombo Organizado lecture performance at Ex-CCDTYE-Olimpo, Buenos Aires.
 
Hignett: “As an inhabitant of this city, which generates such a large proportion of its income through the prostitution industry, the issue is one I feel compelled to tackle with my work, but it is an ongoing struggle to find ways to approach it as an artistic project… so many feminist controversies, so many complexities. How to make art from something this desolate, this vulnerable?”
Her book, Mulier Sacer, juxtaposes the fragile stories and photographs of women who have escaped from forced prostitution in the Netherlands, with pieces of writing from other authors. The title is taken from the Latin term Homo Sacer, one who is deprived of his or her full humanity, a non-citizen who does not enjoy the protection of the law and who can be killed without legal consequence.
The presentation Business As Usual, revolves around the theme of prostitution as a worldwide phenomenon promoted by an industry that earns huge sums of money from the use (abuse) of women’s bodies. Since the sexual revolution of the 1960/70’s the sex-industry has needed to counteract the change in attitude toward (the) female (body’s) autonomy. A moral stance toward prostitution was no longer tenable and the centuries-old assumption of male privilege and entitlement was under fire. The idea of the self-reliant, strong, independent, ‘so-free-that-I-choose-to-sell-my-own-body’ prostitute, perfectly fitted the sex-industry’s agenda. At the same time it made perversely clever use of the feminist principle of female autonomy whilst protecting the sex-industry’s interests.
 
In the Netherlands the sale of sex has been legal, if strictly regulated, since 1811, then, in 2000, the Dutch government introduced legislation to remove the prohibition on pimping and brothel-keeping. Cleverly packaged as part and parcel of a liberal, forward-thinking attitude toward sex in general, and the antipathy of prim moralism, this move corroborated the country’s dubious honour of being the torch-bearer for liberalised prostitution laws and consolidated its reputation as a centre for sex-tourism. The Dutch government, stubbornly blind to the ethically disastrous results of this legislation, has, despite evidence to the contrary, insisted on emphasising the success of this approach, encouraging other countries to follow suit.
 
Business as Usual juxtaposes stories and reflections, videos, texts and analyses, to thread through the haze of subtle propaganda concerning prostitution that permeates our day-to-day lives – imagery that promotes and reinforces the view of the prostituted woman as the ‘happy hooker’, whilst preventing us from seeing the very real pain and distress that exists behind this superficial, one-sided vision.
 
Note to the photograph:
 
In the centre of Amsterdam’s infamous Red Light District there is a bronze statue portraying a prostituted woman standing in a door frame, her attitude is that of a strong, self-sufficient, so-called independent sex-worker. The statue is entitled Belle, and tourists pose to have their photograph taken with her. Here, visitors are invited to use a knife to carve a heart and their initials into the body of Hignett’s life-sized wooden replica – the act of carving one’s initials into her body is indicative of the very real pain suffered by the real women on display in the real windows of the world’s red light districts.
 
Belle Revisited was realised in La Plata in collaboration with Gabriel Pinero.
 
 
Window-dressing prostitution and the racialised female body
 
Patricia Schor
 
I will take Jimini Hignett’s work as a point of departure for reflecting on the racialised female body and prostitution. Placing Hignett’s book/video Mulier Sacer side by side with her exhibit Business as Usual supports thinking about the discrepancy between the representations of prostituted women by the Dutch tourism/sex industry -that relies on images of white women- and the actual prostituted women who have been victimised by traffic -who are also (and often) women of colour. I intend to reflect on the afterlife of slavery/colonialism that informs both the sex industry and the imaginations associated with white femalehood and femalehood of colour. In short I will be in conversation with Jimini Hignett and with the participants, on how white supremacist capitalist patriarchy (bell hooks) shapes the public imagination and the economy of prostitution in the Netherlands. This means necessarily discussing prostitution in the context of global migration and national (tourism) branding.
 
Patricia Schor is a Brazilian-born migrant to the Netherlands. She a scholar of Portuguese colonialism and racism, who has been working comparatively with Dutch colonialism and the afterlife of slavery in the Netherlands. She is an anti-racist intersectional feminist activist. For a selected list of her publications, see: https://uu.academia.edu/PatriciaSchor
 
For reservations please contact us at:
 
La Casa de Barro
Oudezijds Achterburgwal 199,
1012 DK Amsterdam
+31 (0)20 22 31 440
 
Email: rawvegandinners.lacasadebarro@gmail.com
 

Master Class on Decoloniality with Walter Mignolo

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Delights of the Golden Triangle

 

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Delights of the Golden Triangle
Presentation by Noriko Yabata

An afternoon of lecture, cooking demonstration and dining, that will bring you to the deep mountains of Southeast Asia, so called Golden Triangle.

Date : 11th June (Sun)
Time : 14:00 – 19:00
Venue : La Casa de Barro
Investment : 18 euro

The Golden Triangle is a vast area of Southeast Asia that overlaps the mountains of five countries: Thailand, Myanmar, Vietnam, Laos, and Southwest China.

This region is home to over 130 different cultural groups, who continue to live much as their first ancestors, maintaining their self- sufficiency in all ways. Truly, they live the ultimate organic lifestyle.
They keep their cooking area stocked with indigenous and seasonal ingredients that carry their ancestors’ wisdom for sustaining health, community and the environment. “Grandma’s tastes,” transmitted through generations, contain vital knowledge to survive in the region.


For the presentation at La Casa de Barro

1) Introduction of the Golden Triangle and the highlanders
– Climate and lifestyle
– Food culture

2) Cooking with the ingredients from the region
(vegan version, macrobiotic based = not raw)

3) Dining

4) Explanation of the highlanders’ current situation and solutions.

Since the 1960s, the modernization has been changing their lifestyle. It has changed not only the tastes (with white sugar and MSG) but the entire living conditions. Their ancestors’ knowledge doesn’t work in cash economy. Young people leave the mountain and seek jobs in cities, as cheap labors for 3D works (dirty, dangerous, demanding) at the bottom of society.

Now many of them in the mountain grow hybrid corn, which never makes enough money to have adequate life standard. To get out of the cycle of poverty, my suggestion to them is to convert to organic farming and learn about processed food, and connect themselves to contemporary organic food business as contract producers. In order to do so, encouraging next-business seekers, especially in the region, to invest to organic food industry is indispensable. I believe this is a task of us who live in rich countries where organic food industry is well developed and there are many successful business models in it 🙂

About the presenter

Studied movie production and drama directing in Tokyo.
Worked as a commercial video director for a Japanese video production company in Holland. Later became a freelancer and self-produced audiovisual documentations of the Hmong people in Northern Thailand.

* The documentary was selected for Woman’s Film & video Festival by stichting Mama Cash in Amsterdam (1998) and Bilan du Film. Ethnographic, by Musée de l’Homme in Paris (1999)

In 1997, started to practice Okido yoga in Amsterdam, then encountered macrobiotic and organic food movement.
2007, opened the first organic restaurant in Chiangmai, northern Thailand. In 2015, closed the restaurant and started research over the situation of the farmers in a region near border between Thailand and Myanmar.

Documentary
“From the Forest of Tigers and Sprits”
New Year of the Hmong people (1998)
https://www.youtube.com/watch?v=x-PxojRndq8&feature=youtu.be

PR video of a sample product from the region (2016)
created by Victor Picard
https://www.youtube.com/watch?v=y-8gxfPUfuI

Please watch these video before joining the event

For reservations please contact to:

La Casa de Barro
Oudezijds Achterburgwal 199,
1012 DK Amsterdam
+31 (0)20 22 31 440

Email: rawvegandinners.lacasadebarro@gmail.com

https://rawvegandinnerslacasadebarroblog.wordpress.com/blog/
https://www.facebook.com/rawvegandinners/
https://www.instagram.com/lacasadebarro/
https://twitter.com/casadebarro333

Daughters of the Dust

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Daughters of the Dust is a 1991 independent film written, directed and produced by Julie Dash and is the first feature film directed by an African-American woman distributed theatrically in the United States. Set in 1902, it tells the story of three generations of Gullah (also known as Geechee) women in the Peazant family on St. Helena Island as they prepare to migrate to the north on the mainland.

The film gained critical praise, for its rich language, use of song, and lyrical use of visual imagery. The cast features Cora Lee Day, Alva Rogers, Barbara-O, Trula Hoosier, Vertamae Grosvenor, and Kaycee Moore and was filmed on Saint Helena Island in South Carolina. Noted for its lush visuals and non-linear storytelling, Daughters of the Dust was selected for the Sundance 1991 dramatic competition where cinematographer Arthur Jafa won the top cinematography prize.

In 2004, Daughters of the Dust was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”. Dash has published two books related to the film: Daughters of the Dust: The Making of an African-American Woman’s Film (1992), which includes the screenplay; and Daughters of the Dust: A Novel (1997), set 20 years after the events in the film. In 2016 the film was restored and re-released by the Cohen Media Group for its 25th anniversary.

Date: Sunday May 28th

Screening starts at 18:00- 20:00, then we will discuss the film.

La Casa de Barro organizes this screening together with Egbert Alejandro Martina.

Entrance free. Please make a reservation at:

La Casa de Barro
Oudezijds Achterburgwal 199,
1012 DK Amsterdam
+31 (0)20 22 31 440

Email: rawvegandinners.lacasadebarro@gmail.com

https://rawvegandinnerslacasadebarroblog.wordpress.com/blog/
https://www.facebook.com/rawvegandinners/
https://www.instagram.com/lacasadebarro/
https://twitter.com/casadebarro333

Business as Usual

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A weekend with Jimini Hignett and Patricia Schor

Jimini Hignett works under the umbrella title – How To Go On – Making Art When Everything is All Fucked Up. Before setting into her current existence as a visual artist, writer, activist, she has, in the past, earned money in a plethora of ways, from plumbing to street performing. Her current activities include working as a volunteer ‘crisis-buddy’ for a refuge for trafficked women, and DJ-ing and teaching tango.

Hignett: “The question of how to be an artist in the circumstances of today’s world is for me an ongoing struggle. Given the urgency of these times – the ecological catastrophe and the unchallenged rule of neoliberalism – can art have any significance, can it have a role as a tool for radical change for a better world? To quote from Ralph Ellison’s Invisible Man, “Without the possibility of action, all knowledge comes to one labelled ‘file and forget’, and I can neither file nor forget.” I believe in resistance, and although my gestures may not be grand, this underlies everything I do.”

For several years Hignett’s work has been concerned with the topic of prostitution. This work includes: Handle With Care video installation (with Patricia Kaersenhout) in Tropenmuseum Amsterdam and in Dakar, Senegal; Todo Sigue Igual solo exhibition in Museo de la Mujer, Buenos Aires; Un Quilombo Organizado lecture performance at Ex-CCDTYE-Olimpo, Buenos Aires.

Hignett: “As an inhabitant of this city, which generates such a large proportion of its income through the prostitution industry, the issue is one I feel compelled to tackle with my work, but it is an ongoing struggle to find ways to approach it as an artistic project… so many feminist controversies, so many complexities. How to make art from something this desolate, this vulnerable?”

Her book, Mulier Sacer, juxtaposes the fragile stories and photographs of women who have escaped from forced prostitution in the Netherlands, with pieces of writing from other authors. The title is taken from the Latin term Homo Sacer, one who is deprived of his or her full humanity, a non-citizen who does not enjoy the protection of the law and who can be killed without legal consequence.
More: www.HowToGoOn.com

The presentation Business As Usual, revolves around the theme of prostitution as a worldwide phenomenon promoted by an industry that earns huge sums of money from the use (abuse) of women’s bodies. Since the sexual revolution of the 1960/70’s the sex-industry has needed to counteract the change in attitude toward (the) female (body’s) autonomy. A moral stance toward prostitution was no longer tenable and the centuries-old assumption of male privilege and entitlement was under fire. The idea of the self-reliant, strong, independent, ‘so-free-that-I-choose-to-sell-my-own-body’ prostitute, perfectly fitted the sex-industry’s agenda. At the same time it made perversely clever use of the feminist principle of female autonomy whilst protecting the sex-industry’s interests.

In the Netherlands the sale of sex has been legal, if strictly regulated, since 1811, then, in 2000, the Dutch government introduced legislation to remove the prohibition on pimping and brothel-keeping. Cleverly packaged as part and parcel of a liberal, forward-thinking attitude toward sex in general, and the antipathy of prim moralism, this move corroborated the country’s dubious honour of being the torch-bearer for liberalised prostitution laws and consolidated its reputation as a centre for sex-tourism. The Dutch government, stubbornly blind to the ethically disastrous results of this legislation, has, despite evidence to the contrary, insisted on emphasising the success of this approach, encouraging other countries to follow suit.

Business as Usual juxtaposes stories and reflections, videos, texts and analyses, to thread through the haze of subtle propaganda concerning prostitution that permeates our day-to-day lives – imagery that promotes and reinforces the view of the prostituted woman as the ‘happy hooker’, whilst preventing us from seeing the very real pain and distress that exists behind this superficial, one-sided vision.

Note to the photograph:

In the centre of Amsterdam’s infamous Red Light District there is a bronze statue portraying a prostituted woman standing in a door frame, her attitude is that of a strong, self-sufficient, so-called independent sex-worker. The statue is entitled Belle, and tourists pose to have their photograph taken with her. Here, visitors are invited to use a knife to carve a heart and their initials into the body of Hignett’s life-sized wooden replica – the act of carving one’s initials into her body is indicative of the very real pain suffered by the real women on display in the real windows of the world’s red light districts.

Belle Revisited was realised in La Plata in collaboration with Gabriel Pinero.

The exotic female other and the politics of looking in the Netherlands

Patricia Schor – La Casa de Barro, 2017

The archive of sexual regulations in the Dutch empire conditions the West European (male) gaze to the alien female body in contemporary Netherlands. This talk will address the racialization of the alien female body in the Netherlands – the niet- Westerse allochtoon constituted as a threat to European bourgeois respectability. I will briefly read from Stoler’s analysis of the condonance of concubinage in the Netherlands Indies and the stigma attached to mestizo children in the metropolitan territory. I will then explore the complex ways in which this colonial archive manifests itself today. This complexity emerges out of the enlacements between gender, class and race experienced by those female aliens at different locations in the line between black (abject but also desired) and white (civilised and aspired) in the Netherlands. I will talk about the alien female or exotic other. How is she coded through body, language and gesture/clothing – as indexes of race/origin, class and gender/sexuality? How is she “overdetermined from the outside” (Fanon) and how does she look back (hooks)?

Although informed by theory (but not only), the aim of this talk is to tease out a (non- theorerical) conversation that benefits from the knowledges and experiences of those present.

Reading materials

Stoler, Ann Laura. “Sexual Affronts and Racial Frontiers: European Identities and the Cultural Politics of Exclusion in Colonial Southeast Asia.” Comparative Studies in Society and History 34.3 (1992): 514-51.

hooks, bell. “The Oppostional Gaze: Black Female Spectators.” Black Looks: Race and Representation. Ed. South End Press Collective, 1992. 115-131.

Patricia Schor is a Brazilian-born migrant to the Netherlands. She a scholar of Portuguese colonialism and racism, who has been working comparatively with Dutch colonialism and the afterlife of slavery in the Netherlands. She is an anti-racist intersectional feminist activist. For a selected list of her publications, see: https://uu.academia.edu/PatriciaSchor

Event: 21st May 2017


Price: 25 euros p.p. (Raw-Vegan lunch is not included, the price is 25 euros, if you want to reserve a lunch please order beforehand, juices and other products will be available for purchase).

For reservations please contact us at:

La Casa de Barro
Oudezijds Achterburgwal 199,
1012 DK Amsterdam
+31 (0)20 22 31 440

Email: rawvegandinners.lacasadebarro@gmail.com

https://rawvegandinnerslacasadebarroblog.wordpress.com/blog/
https://www.facebook.com/rawvegandinners/
https://www.instagram.com/lacasadebarro/
https://twitter.com/casadebarro333

Rescate Femenino

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Tejer es aprender a hilar y deshilar, tejer es continuar y el tiempo cae cae                    Alguien tejió la red usando hilos de mar y calma de mujer y el tiempo cae cae            Tejer es conexión, celebración, cortejo con la vida
Tejer es la llave ancestral del conocimiento que se transmite de generación en  generación

Canción Colombiana de la Tradición de Tejedoras

Paula Andrea Muñoz es una medica ancestral que desde hace diez años esta dedicada al rescate de lo femenino por medio del tejido y de la ancestralidad que se transmite de generación en generación. Combinando terapias de barro con piedras preciosas como el ambar, aceites medicinales de su propia fabricación que vienen de su linaje familiar, desde una perspectiva puramente espiritual.

En este taller hablaremos del tejido como terapia espiritual del rescate a lo femenino con actividades lúdicas, donde las participantes recibirán los materiales para preparar su tejido y comenzar su sanación.

Event: 7 de Mayo del 2017

Precio: 40 euros por personas (solo para mujeres)
El taller sera en español.

Para reservar por favor comunicarse con nosotras:

La Casa de Barro
Oudezijds Achterburgwal 199,
1012 DK Amsterdam

+31 (0)20 22 31 440

Email: rawvegandinners.lacasadebarro@gmail.com

https://rawvegandinnerslacasadebarroblog.wordpress.com/blog/
https://www.facebook.com/rawvegandinners/
https://www.instagram.com/lacasadebarro/
https://twitter.com/casadebarro333

 

Ecofeminism

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Ecofeminism @ La casa de barro

A weekend with Wendy Harcout and Rosalba Icaza

Wendy:

Ecofeminism is a term I have had a life long love – hate relationship. At times I would fiercely argue against it. I did not want women to end up being responsible for the mess men had made for the world. But at the same time I have been often drawn by its appeal to other ways of seeing – of care and community and valuing the spiritual. Reflecting back on my life time engagement in feminism and environmentalism – in global debates at European women’s encounters, UN and World Social Forum, my time as a student activist in Australia, as a development worker in Italy and now as a teacher in the Netherlands – I realise that ecofeminism has shaped much of my world view. Given the environmental, social and political mess we are in right now in Europe, I feel more drawn than ever to the insights of ecofeminism. I am reengaging with the work of Val Plumwood, a feminist and philosopher in Australia. I am reflecting and learning about how technologies mediate our understanding of nature and culture. Our conversation at the Casa de Barro will explore how ecofeminism can inspire and guide ways for living with earth others, and in greater harmony with nature, learning to navigate modernity and capitalism and its damaging ways of being.

Wendy Harcourt is feminist scholar and activist, currently Associate Professor in Critical Development and Feminist Studies at the International Institute of Social Studies (ISS), Erasmus University, The Netherlands. She has engaged many books and articles on the nexus of gender and environment and development, reflecting on her own practice as well as theory and policy of sustainable development. Her interest in ecofeminism comes from her Australian roots when as a student she was actively involved in many environmental campaigns. In Italy she has continued that interest as a member of the ecofeminist collective punti di vista (points of view) in Bolsena, Italy. The attached articles share more about her life long interest in ecofeminism.

Val Plumwood’s work the eye of the crocodile (2012) can be downloaded at http://press.anu.edu.au/publications/eye-crocodile

See also:

“Ecofeminism: An Overview and Discussion of Positions and Arguments,” Australasian Journal of Philosophy, 64, supplement 1, pp. 120–138
doi:10.1111/j.1527-2001.1991.tb00206.x JSTOR 3810030

(1991) “Nature, Self, and Gender: Feminism, Environmental Philosophy, and the Critique of Rationalism,” Hypatia, 6(1), March 1991, pp. 3–27
http://dx.doi.org/10.1080/00048402.1986.9755430

Rosalba Icaza is senior lecturer at the Institute for Social Studies of the Erasmus University Rotterdam. She has been involved in collaborative research initiatives dealing with the global governance of knowledge making and the practices of epistemic dissent and resistance that contest its numerous institutional expressions (e.g. Global and Regional governance of trade, NGOization of development agendas, global governance of sexual and reproductive health, etc.). She is currently part of the Transnational Network Other Knowledges (RETOS).

The weekend consists on a presentation/conversation between Wendy Harcout and Rosalba Icaza, followed by questions from guests, and Raw Vegan dinner.

If you are interest to take part in the reading group on Friday 21st please email us.

Event: 23 Abril 2017

Price: 40 euros p.p.

For reservations please contact us at:

La Casa de Barro
Oudezijds Achterburgwal 199,
1012 DK Amsterdam
+31 (0)20 22 31 440
rawvegandinners.lacasadebarro@gmail.com

https://rawvegandinnerslacasadebarroblog.wordpress.com/blog/
https://www.facebook.com/rawvegandinners/
https://www.instagram.com/lacasadebarro/
https://twitter.com/casadebarro333

Los Hermanos Mayores del Corazon del Mundo

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Los Hermanos Mayores del Corazon del Mundo

(From the heart of the Earth to our younger brothers and sisters)

A story as introduction by Aldo E. Ramos to his encounter with Arahuacan culture followed by an Indigenous meditation workshop by Asdrubal Torres about Arahuacan cosmology from La Sierra Nevada de Santa Marta Colombia. This workshop seeks to strengthen our ties to Mother Earth.

Asdrubal:
El metodo del taller se llama circulo de palabra con el ayu sagrado
y jornada de paz y dignidad, una profecia del condor y el aguila de la union de la famila para buscar el balance y la armonia con el universo…netamente espiritual. Peregrinaje.

Translation: The method of the workshop is called circle of words with the sacred ayu, and meeting of peace and dignity, a prophecy of the condor and the eagle of the union of the family in order to look for balance and harmony with the Universe… distinctly spiritual. Pilgrimage.

We are also collecting donations for the Arahuacan community to be able to recover/buy their own land back!

Event: 16 April 2016

From 15:00-19:00

Dinner starts at 18:00

Price: 35 euros p.p.

For reservations please contact us at:

La Casa de Barro
Oudezijds Achterburgwal 199,
1012 DK Amsterdam
+31 (0)20 22 31 440
rawvegandinners.lacasadebarro@gmail.com

https://rawvegandinnerslacasadebarroblog.wordpress.com/blog/
https://www.facebook.com/rawvegandinners/
https://www.instagram.com/lacasadebarro/
https://twitter.com/casadebarro333

On Liveability

weems_project-row-2Carrie Mae Weems, Project Row Houses from “The Museum Series”.

 

A Weekend with Egbert Alejandro Martina and Sands Murray Wassink

Please find our Schedule bellow!

On liveability with Egbert Alejandro Martina:

In my presentation, I will grapple with a series of difficult questions: what does liveability entail for lives lived as black lives? What would make a city or neighbourhood liveable for lives lived as black lives? The purpose of my talk is to explore the strained relationship between blackness, liveability, and the built environment. Focusing on the relationship between liveability, blackness, and the built environment asks us to consider carefully not only ideas about lives lived as black lives, but also the “ideal” conditions in which such lives can flourish.

Egbert Alejandro Martina is an agitator for change and a founding member of ERIF, a foundation that conducts critical research of media expressions and provides anti-racist education for a broader audience.

He is currently working on a project that analyzes the imaginative work that liveability, or a term such as “a city in balance,” performs in the design of the spatial environment. The project reads across the theoretical spectrum, ranging from black feminist theory, geography studies, and queer ecology; it engages with works that tackle the complex relationship between human / animal / plant. He is particularly interested in the implications of what Saidiya Hartman calls “the afterlife of slavery.” His aim is to provide both a critique of “the good life” and the idea of Europe as an “area of freedom.”

Performance and conversation by/with Sands Murray Wassink

I have been accused of not being an activist. I know how to focus. Despite being manic depressive with a diagnosis since 2003, on medicines and in therapies, I work at a high frequency, using depression as a major theme and inspiration for my work. I was born in Topeka, Kansas, in the USA in 1974 and live in Amsterdam, NL since 1994 – since 1996 I am with my husband Robin, who is a computer programmer in a hospital laboratory. My childhood and upbringing were miserable and aesthetically fascinating to me. I was raised in a racially mixed environment, and it’s only since I moved to Holland that I started to notice myself feeling a little more xenophobic. Someone once told me to change my adopted last name “Wassink” (Robin’s last name) because it didn’t sound like a good name for an artist. People are constantly misspelling the name, and this I find funny. Humor is a survival mechanism big time, my art work with my body and lived experience as medium are all about survival and peace. Most of my work is made while depressed somehow, and it always has a humorous edge after the fact. Many people in the Dutch art world think I am just crazy, and they discount me based on this opinion. My work is made to share “how it feels” (“it” being life) and to be critical of superstructures. I hate superstructures. I hate that I have been told to aspire to superstructures of all kinds, including (as a gay bottom guy) being better looking and more ‘manly’. I am heavily woman identified and feminist art changed my life, especially art made in the 1970s and 1990s (the 90s were my formative years).

My work is about raw process, everything is made to “bring mess, mismanagement and sadness into public” (my quote). I struggle with confidence for various reasons, because my identity is not rock-like, it is fluid and changeable. Stress makes me depressed and this world is full of stress. It is a challenge to live. My performance will be an associative presentation of text, sound and image and conversation. It will be based in the fact that I am ignored by the main circuits of the art world, and I believe this is because my work “looks like I do”, not particularly always glamorous and believable and respectable and spectacular – me and my work are muddled and people think this is a lack of artistic talent and attractiveness. But mess is the condition we all survive in, when we survive. My work is based in herstory and I cannot really say I have been directly discriminated against (i.e. Ableisms) but the fact that I do not hide my chronic illness (but in fact spotlight it) has me being punished by earning virtually no money and earning virtually no trust. I have a bit of a pedigree with scholarships and institutions, I know the game as it is played in the center and I am not taking part. My mental health depends on my somewhat solitary but connected to community activist / artivist positions.

All the things that make me who I am. I hope to inspire others to express “how it / life feels” and want to highlight that a willingness to speak and engage is often seen as desperate and needy and less intelligent by the mainstream art establishments. The establishments are multiple. And insidious. And incendiary.

Fire. Water. Ice. I live as a male in a white body and this feels brutal and privileged at the same time. I am a weirdo in many ways and I’m the one who is often pulled out of the customs line at airports for being nervous—some of the medicines I take for manic depression make me shake which is worse with stress (shaking). I usually feel guilty somehow, someone else’s burden, incapable of cleaning up my own messes, earning my own living, taking responsibility. But I live for those “a-ha!” moments of enlightenment when I am sure I am doing the right thing/s. I am however very angry at all the injustice I see in the world, even when I notice myself being complicit in it, and I want to express this as well…I hold myself accountable for everything and want to be as consistent as possible in my behaviors, and interactions. Key artists have been Carolee Schneemann, Hannah Wilke, Adrian Piper (radical narcissisms). I like rigor in art work, rigor and intensity—and sensate sensuality. I distribute ephemera to get my thoughts out into the world. Audience can be 1-on-1, the more intimate the better. The organic “me” is just a dust mote in time…

risk3-1

from left to right
Guenter Brus, “Aktion Kunst und Revolution” 1968
Sands Murray-Wassink and Robin Wassink-Murray, “Town Hall Philosophical Living Color Drawing” 2008
Sands Murray-Wassink and Robin Wassink-Murray, “Town Hall Philosophical Living Color Drawing” 2008
Lorraine O’Grady, “Mlle Bourgeoise Noire” 1980-1983
Lorraine O’Grady, “Mlle Bourgeoise Noire” 1980-1983
Lorraine O’Grady, “Mlle Bourgeoise Noire” 1980-1983
image under
“Gay Male Brain” Sands Murray-Wassink, 2000

Friday 10th March

Meeting of the Reading Group
17:30 – 21:30 (20 people max.)
Please make your reservation on time as we have many amazing reading material to share with you.
(Donation based evening)

Sunday 12th March
40 euros p.p.
14:00 Presentation by Egbert Alejandro Martina ‘On Liveability’
15:00 – 16:00 Conversation with guests and Egbert Alejandro Martina
16:00 Raw Vegan Lunch
17:00 Performance by Sands Murray Wassink
18:00 – 19:00 Conversation by Egbert Alejandro Martina and Sands Murray Wassink and guests.

For more information, registration and reservations contact:

La Casa de Barro
Oudezijds Achterburgwal 199,
1012 DK Amsterdam
+31 (0)20 22 31 440

rawvegandinners.lacasadebarro@gmail.com

https://rawvegandinnerslacasadebarroblog.wordpress.com/
https://www.facebook.com/rawvegandinners/
https://www.instagram.com/lacasadebarro/

Dr. Aris LaTham Sunfired Food Workshop and more!

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La Casa de Barro will be hosting a series of events with our guest The “Sunfired Gourmet” Grand Master Raw Food Chef Dr. Aris LaTham starting on 31st March till 9th April. Please check bellow for the full schedule.

This event has being cancelled and moved to next year if you are interested in taking part in the future please contact us at rawvegandinners.lacasadebarro@gmail.com

Gourmet Ethical Vegetarian Raw Food Experience

6 Day / 36 Hour Sunfired Food Certification Course

This special course is designed for everyone, including health professionals, caterers, chefs, “health“conscious families, etc., who would like to awaken his or her dormant creative culinary energies, and have fun “not cooking” naturally. Sunfired Food replaces the stove, oven, microwave, pots and pans with the juicer, food processor, blender and dehydrator. It utilizes plant foods exclusively (i.e. fruits, vegetables, grains, flowers, nuts, herbs, spices, marine vegetation and rare/exotic edibles).

Special attention will be given to the principles, concepts and techniques for living, “whole” food preparation and presentation. Learn new skills and secrets for making incredibly delicious and nutritious dishes that are living artistic masterpieces, and taste as good as they look. Come in and learn an invigorating new world of fresh fun, with textures and colors that fully satisfy all the senses in higher levels of well-being.

The Sunfired Food Certification Course includes topics like:

* Rebuilding the Immune System with Enzyme Nutrition
* The Sunfired Philosophy of Living Foods
* Constructing a Personal Eating Plan
* Raw Food Therapy Protocols
* Seasonal Meal planning
* The Stove-less Kitchen
* Food Combining
* Sprouting
* Soups & Sea Vegetable Dishes
* Sunday Feast, Holiday Menu & Catering
* Salads, Dressings, Dips, Sauces & Spreads
* Main Course Recipes
* Power Juicing for Life
* The Fine Art of Seasoning
* And so much more…

Our schedule, notice that not too many places are available so reserve on time, for the course only 15 places are available.

Friday 31st March
Raw Food Facts and Guidelines with Dr. Aris LaTham
19:00 – 20:30 (Donation based evening)

Saturday 1st April
Raw Vegan dinner and Q & A with Dr. Aris LaTham
18:30 – 23:30 €80 p.p (max. 20 p.)

Sunday 2nd April
‘Having Fun with Raw Foods’
Information Seminar and Brunch
15:00 – 18:00 €40 p.p. (max. 20 p.)

Sunfired Food Certification
3rd April – 8th April
€1,200 p.p. (max. 15 p.)

8:00-11:00 First Session
11:00-13:00 (break)
13:00-16:00 Second Session

Saturday 8th April
Juice Party
20:00 – 23:00
€40 p.p.

Sunday 9th April
‘Big Feast’ with samples
14:00 – 18:00
€60 p.p.

For more information, registration and reservations contact:

La Casa de Barro
Oudezijds Achterburgwal 199,
1012 DK Amsterdam
+31 (0)20 22 31 440

rawvegandinners.lacasadebarro@gmail.com

https://rawvegandinnerslacasadebarroblog.wordpress.com/
https://www.facebook.com/rawvegandinners/
https://www.instagram.com/lacasadebarro/

https://twitter.com/casadebarro333