With the installation, Studio Ossidiana questions about private and public, and who has the right and access to green and exclusive nature in today's city. NDSM Lusthof, like the former Lusthoven, which were intended for the richer people of Amsterdam, is surrounded. Now not through hedges, but through a playfully designed and colored fence with peepholes that make you curious. The fences have a rounded shape that looks like an observatory, a place where the world is seen from the inside out.

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In addition to the design of the fence and infrastructure, the plants that grow in NDSM Lusthof also have a link with the subject of lustthoven. In the Lusthoven of yesteryear, all kinds of botanical finds were collected. The plants at NDSM Lusthof are inspired by the Turkish Ottoman gardens where medicinal herbs as well as trees or flowers flourish. It is an agricultural garden in the broadest sense of the word where plants have a 'function', from pollinators for bees and butterflies to tea herbs. A true “Living Library”, in the words of Studio Ossidiana.

Planting NDSM Lusthof

Landscape Architect Arja Helmig of Yes studio brought this theme to life in her design for the plants at NDSM Lusthof. The richness of gardens such as “Living Library” on the one hand, and the tension between accessibility to green in an urban environment on the other. This accessibility is important because plants and green areas have proven to have a positive effect on human physical and mental health. For some populations around the world, plants are still the only available and reliable medicine for certain conditions or types of pain. That is why, when designing the green, urban oasis NDSM Lusthof, Arja chose plants that have medicinal properties: a pharmacy garden. Just like a physical pharmacy, the garden is not always open and you need to provide the necessary information before you can pick from it.

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The functionality of the plants in NDSM Lusthof is not limited to those for humans. The design is specifically tailored to a balance between people, plants and animals. Plants are absolutely essential for birds, bees and butterflies. That is why, in NDSM Lusthof, Arja chose a combination of native trees, shrubs and herbs, species that are best for our native small animals.

The design

The final design of the growing parts of NDSM Lusthof makes it a green urban oasis. Following Studio Ossidiana's design inspired by the shape of an observatory, the plants in NDSM Lusthof are also planned in circular shapes. The garden is a place for recovery, which implies change, improvement, care and maintenance. The changing nature of the garden over the seasons and the growth over the years reflect this, but the changing perspective on the accessibility of green spaces for people also contributes to this.

NDSM Lusthof is also a community place. This means a personal space, with tea ceremonies led by gardener Maryam Kalami, guided tours and a dedicated volunteer team maintaining the garden. It is a place where people are not just allowed to enter all the time and nature can take its course undisturbed.

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The garden is about care and warmth, both between people and between people and nature. This is emphasized by the choices of the mainly native plants in the garden, with their functions for humans, animals and nature. The selections are warm plant colors (different shades of blue and pink) and with plants from sunnier climates (greyish leaves).

For plants, animals and humans, example: the White Willow

If you look through the peepholes of the NDSM Lusthof fence, you will see the White Willow (Salix Alba) The bark of the Salix Alba has been used by various cultures for thousands of years as a remedy for colds, fevers and joint pain. The active substance, salicylic acid, was first isolated and then produced in a synthetic form as a medicine called acetylsalicylic acid (aspirin). In the past, people simply chewed on a willow twig for gout and pain. Also a handy tip if you're walking in the polder and your ankle sprains!

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In addition to its medicinal functions, we can scale white willow trees among the absolute best in terms of biodiversity. Countless plants, birds and insects live on and in the crown and trunk. Research shows that more than 450 different species of insects can occur on a willow tree. This is important, because insect life is not doing well.

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The Schietwilg in NDSM Lusthof also contributes to helping to restore the contaminated soil at the shipyard as a result of the intensive shipbuilding industry of the last century. This is because white willows can absorb high levels of lead and cadmium from the soil and store them in various parts of plants. This knowledge comes from the second half of the 20th century when several researchers came up with the idea of using plants in remediation (phytoremediation) to extract heavy metals to purify soil and water. Fortunately, an investigation by the municipality showed that this piece of land is not contaminated and can be picked out.

In this article, you can read which makers have already made a work in the past on the theme of (Un) monumenting. This program line was started in 2021 by the NDSM-werf Foundation and has had many interpretations since then. In chronological order, do you remember?

Breathing the city: Frerara

In 2021, the Frerara collective — Frederick Calmes, Raquel van Haver and Raul Balai — was invited to make the Drawing Task 2020, which they realised for Amsterdam City Archives, visible at the NDSM shipyard. In (Un) monumenting #1, Frerara presented images from Breathing the City, which focuses on underexposed Amsterdammers and their stories.

The three artists bring together themes such as the archive, transition, art and culture and the city's signature in their work. To do this, they are researching the residents of the city of Amsterdam and specifically into continuing the tradition of keeping the city alive as a ritual. For example, the drawings show a different face of Amsterdam and create a temporary 'monument' for a number of understudied townspeople.

This work questioned the role of monuments in contemporary society: who are monuments really for, and can they actually form a stage for underexposed people, subjects, or images?

For (Un) monumenting #2, Sijben Rosa created a temporary and performative monument; terms that conceal a strong contradiction. The central question was: is it still up to date to make a monument to eternity?

Not Forever was an ode to what NDSM was, is, and the future interpretation that is under pressure from temporality, a changing city and climate change. The object, which is reminiscent of a large boulder, was built from the remains of the demolished building of Sexyland Society.

The monument becomes visible only when it is removed — Sasha Pevak

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The work spent a month and a half wandering around the shipyard, each time with a new destination and “guardian” who had to ensure that the object was visible for a short period of time and that nothing happened. After the journey, the object was demolished and the parts were recycled, in line with the title of this work. Not forever raised questions about what makes monuments monumental: is it the image or, on the contrary, the experiences and context with the object that make the soul? “Just like if you were to completely dissect a person, you won't find one piece that contains the soul or identity, it's in your whole being.” — According to Sijben Rosa.

Monument: Manaf Halbouni

Monument was created in 2017 by the Syrian-German artist Manaf Halbouni. The work originally referred to the war in Syria, where a widespread media image showed civilians in Aleppo hiding behind three sniper buses.

The work referred to war situations and experiences in Syria, but also in the rest of the world, and what that means for societies in times of peace. “I wanted to show how war and peace can change very quickly,” says Halbouni. “And there is always war, but there is also reconstruction.”

This work was about the role of peace or war memorials in public space: a place where you can reach many people at the same time, but also a place where people don't explicitly ask to see art (after all, that's what a lot of people go to a museum for). The work called many comments received from spectators at the NDSM shipyard, but also in other places such as Dresden where the work was located. These reactions, both positive and negative, raise questions: are monuments allowed to take up space in public places, and if so, how and for whom?

Landed Rock: Clinton Kabena

It looks like this car crashed with a bang. The first participating work by (Un) monumenting: The Future Should Always Be Better, will be the installation from October 5, 2023 Landed Rock on display by designer and visual artist Clinton Kabena. In addition to the car that appears to have crashed face down into the ground, Kabena also fills the NDSM Billboards with three visuals.

This work challenges the viewer to think about the fantastic nature of borders, constructed as they are from the collective imagination of societies. The confrontation of the grandeur of these monumental structures with the fragile threads of unity that they are trying to preserve.

In this article, we will discuss the monumental site of NDSM, in particular the “monumental heritage” that can be found at the shipyard in the form of buildings and objects from the past. Exactly what monumental heritage means is open to debate. However, the government uses one definition by The National Office for Cultural Heritage (RCE): “Monuments are historic buildings, archaeological sites or green structures created by humans, such as parks”. These are protected by the national government, province or municipality because of their cultural-historical value, according to the RCE.

At the NDSM shipyard, you will come across a number of these national monuments, which can be found in the register for national monuments. If you enter the zip code of the NDSM shipyard in this search engine, you will immediately get a number of hits: de Smederij, NDSM Scheepsbouwloods, Lasloods, and the slopes.

Smithy

The Smithy, recognisable for its typical “gabled roofs”, is a collection of buildings and a square in the heart of the NDSM shipyard. This 1909 building was first located on the old NSM on Oostenburg and was used for sheet metal processing. It has been at its current location since 1927 and consists of steel-framed facades with different sized sections that alternate with brick masonry, and door and windows with square windows. After moving from the NSM shipyard to the Noorder IJ polder in the north, the warehouse was demolished and rebuilt in two parts at the new site location. From that moment on, sheet metal processing at the shipyard would take place in the large Scheepbouwloods (NDSM Loods), allowing the Forge to be used for other purposes. The first and largest part after the relocation became the Timmerwinkel, for mechanical woodworking, furniture making, veneering and polishing. The other and smaller part was set up as a Forge. This is where the smaller ironwork was done, for components that could not be purchased from the shelf at the time, such as ship fittings and tools. In the lower and separate building with the gabled roofs, the Central Workshop, electrical and air tools were lent and maintained. This workshop was also known as the “air warehouse”.

De Smederij was restored to its previous glory by G&S& (former BMB development) in collaboration with the preservation of monuments in 2014. The buildings are now an inspiring meeting place and business spaces where, among others, the Greenpeace Foundation, Paramount Benelux, Emolife Campaigning, and the Double Tree by Hilton are located. On the Forge Square works of art are often shown in public spaces, such as the Camping Nature City high-rise from Willem de Haan, Dazzle Trip from Yamuna Forzani, Monument by Manaf Halbouni, and much more.

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Shipbuilding shed

An icon of NDSM: the Shipbuilding Shed, also known as the NDSM Warehouse named, celebrated its 100th anniversary in 2020. Anyone who has ever been to the NDSM Loods is familiar with the enormous size of this building, which is defined by brick facades with a steel frame structure, tall blue doors and windows with narrow, tall windows. During the shipbuilding era, several parts of the production process were invested in this building, but mainly large steel plates were processed and then (from 1952) brought to the Lasloods for assembly. The full name of the shipyard is written on the facade of the Shipyard: Nederlandsche Dok en Scheepsbouw Maatschappij, whose letters NDSM are marked extra white.

After the shipbuilding period, the NDSM Loods became abandoned and fell into disrepair. From the '90s, artists moved to NDSM: several buildings on the shipyard were squatted, including the NDSM Loods, after which breeding grounds and studio spaces were created that were the basis for the cultural identity that NDSM now bears. The breeding ground that was created at that time was later managed by Kinetic North Foundation further developed and is now known as De Kunststad. With 80 studios, the City of Art covers roughly one third of the immense surface area of the NDSM Loods. The other parts of the warehouse are rented out for filming, photo shoots, dance, music and theater performances, exhibitions, auctions, corporate and dance parties, markets, conferences and much more.

Lasloods

It's not hard to guess what happened in the Lasloods in the times of shipbuilding: welding took place. The huge steel plates that were shaped and cut to the correct size in the NDSM Warehouse were then brought to the Lasloods to be assembled. This was done via a steam locomotive called Jumbo on railway tracks that can be found all over the site. Fun fact: the rails, like the buildings mentioned in this article, are classified as cultural heritage and should therefore not be changed or removed from the site (they have been closed to prevent accidents).

After the times of shipbuilding, the Lasloods was also deserted for a while, after which it had several destinations, including a place for the winter in later years. IJ-halls. From these halls came the request for more artistic content for the large warehouse during the market. This manifested itself until the final idea of a Street Art Museum was approved. Meanwhile, it sits STRAAT Museum at NDSM for 4 years and is an integral part of the street art that has been found all over the shipyard for years.

The Slopes

In the shipbuilding period just after the Second World War, there were 8 ramps across the entire NDSM shipyard. Among other things, immense mammoth tankers were made here, or they were used to store materials. When the ships were ready, they were launched on the slope and, after baptism, slipped into the water from the slope. The ramp door that had to be opened before is still in the water on NDSM near the Feralda Crane (Crane 13). The latter is an original crane that served in the times of shipbuilding on NDSM and has now been fully restored and is used as a hotel.

Most of the ramps were demolished after the closure of NDSM as a shipyard, except for two: the present small X and major Y slopes. The Y-slope and the spaces below offer space for countless artists and small companies. The office of Stichting NDSM-werf is also located under the Y slope. The X slope is currently being renovated, but workshops are also normally located in this smaller slope.

The buildings mentioned above are therefore classified as national monuments. But what does that actually mean? Is a historical context necessary to eventually achieve a monumental status, or is a monument more than that? And what should contemporary monuments look like? These are the questions we will put to the test in the coming weeks in the context of the exhibition (Un) monumenting: The Future Should Always Be Better. Follow us on our social media channels and don't miss a thing!

Would you like to know more about the NDSM shipyard's shipbuilding past? Then check out the website of NDSM Revives Foundation.

For a number of years, the NDSM-werf Foundation and the NDSM Warehouse along with Amsta Karaad for deploying people with a distance from the labor market at the NDSM shipyard. Together with the managers of the NDSM shipyard and Loods, they keep the site clean, safe and intact. We had a conversation with Marc, he tells us all about his work with the guys from Karaad at NDSM.

Marc, can you introduce yourself?

My name is Marc, I've been working here at NDSM for two years with adults with a mild mental disability, but also people with mental illnesses such as Korsakov. Two years ago, we started in the NDSM Loods where we had a small orange gypsy wagon from which we worked. We then started there with three boys who did jobs in the warehouse and that slowly grew larger. Since this year, we moved to the outdoor yard and moved into a new office this summer. Now we do jobs all over the site to keep the NDSM shipyard clean, safe and intact.

What kind of activities are these both?

We work a lot with Alex Both, the manager of the outdoor area. He then gives our boys small jobs spread across the site. In the meantime, we have found a good pattern here. Indeed, some of our participants are autistic, so they like it when they know what is on the program. For example, every Monday and Thursday, we have a fixed round for the trash cans in the NDSM Loods. All the waste is collected by our boys and brought to the press container.

Around the outdoor area, we do our rounds on go-karts and cargo bikes. The boys drive them around the site with trailers to clean up waste. You may have encountered them as a visitor! We also do some light green maintenance on the site. Then the boys set out with a brush cutter to update the grass and forest edges on the site. You notice that some boys have started to feel very responsible for their work here on the field.

I mainly see boys riding around in go-karts, can girls also come to work at NDSM?

Of course, girls are also very welcome. But in general, they don't like working here. It's physically quite tough, you have to lift and lug a lot outside. The girls in the residential groups often find that less attractive.

Can you also tell me more about Amsta Karaad in general?

Amsta is a large organization that provides care here in Amsterdam. For example, they also offer care for the elderly. Amsta Karaad is actually a small part of Amsta that works with people with a (mild) mental disability. Amsta Karaad has several residential groups in Amsterdam where people live and are offered daily activities and workplaces. The NDSM shipyard is an example of such a workplace. So all the boys who work on our site live assisted somewhere in Amsterdam. The participants also receive compensation for the work they do here.

I really like that you really built a relationship with those guys.

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I notice that it is really nice for them here. The boys often have setbacks and generally not an easy life. When they're working here and they get a compliment from a passer-by or employee, for example: “Good job!” then you can really see them perk up. That gives me a positive feeling, even with myself. Of course, this terrain is also very tough and challenging, which also has a good influence on whether the boys are having a good time. The freedom they get here has a good influence on them, and that is reflected in the work they do.

So what is your role within this structure and can you tell us a bit more about yourself?

I guide the boys here on the days they work here, which is every day from 09:00 to 15:00. Of course, I'm not doing that alone, I'm working with a fantastic team of multiple supervisors. When the day is over, we report back to the residential groups about how the day went here and how the boys did it individually.

I was originally a graphic designer, but after 13 years, I was tired of sitting behind a screen every day. I wanted to do something different and that's when I finally ended up at Amsta. They then offered me a course that I could follow to do this work and I have been doing this ever since, with great pleasure! I really like that you really built a relationship with these guys, when they come to work here almost every day for a year and a half, you really get to know them a little bit and that's really nice.

I think I speak for the entire NDSM shipyard when I say that we are very happy that you are there to keep the shipyard clean, safe, and whole. Do you have any afterburners?

We also really like it at NDSM! Here's an appeal: if you use the WMO or the WLZ, you could work with us. People are always allowed to join, the more hands the better. If interested, please contact the Client Service Office: csb@amsta.nl

Queer Amsterdam: “We are trying to ensure that all voices in the community have a place”. This also includes space in the urban public space of Amsterdam, and beyond. In that context, we look back on (and look ahead to) what queer artists and works of art have left their mark on the public space of the NDSM wharf so far. But we also recognize that the queer community, in their entirety, is still heavily under-represented in the arts sector and in public spaces in general.

Zanele Muholi (they/service)

The South African Photographer Zanele Muholi is an engaged photographer who — through an activist lens — explores and documents South Africa's LGBTQI black identity. For more than twenty years, Muholi has been capturing black queer, transgender and intersex people through his lens. This has resulted in powerful contrasting black and white portraits that reclaim the meaning of “blackness” and undermine the clichéd, stereotypical images of black people. yesteryear in 2022, three of these images were shown on the NDSM billboards spread across the shipyard.

Goldendean (Dean Hutton) (she/them)

With work “Big Fat Trans Light Merqueer” made the South African Goldendean part of the (Come To) Light exhibition in 2021. This work is a hybrid between man and sea monster that seems to have crawled out of the IJ water, inspired by folk tales about sea-lake people. Goldendean shares moments of gentle courage to affirm the right of all bodies to exist, be celebrated, and protected. A tenderqueer invests in an audience to respond in a friendly way, to let our bodies be safe together, and to give queer space.

Yamuna Forzani (she/her)

Artist, designer, and queer activist Yamuna Forzani is currently on view at NDSM with her work 'Dazzle Trip': three visuals on the NDSM billboards, 'A big heart inflatable' inflatable, video installation in a shipping container and a special Dazzle Pont wrapped in a Dazzle wrap. This series of images and artworks celebrate gender diversity in public space and provides a glimpse into Forzani's universe. Inspired by challenging prints and graffiti influences, Forzani creates contemporary collages and graphic patterns with tags. If you zoom in on the patterns, you will see references to pop culture (symbols and emojis), but also an activist attitude, such as statements such as “trans rights are human rights”. In addition to being an active member and organizer in the ballroom community, Forzani is a winner of the Dutch Design Awards in 2022 and her work can also be seen in Rademakers Gallery.

Let Me Be Myself (2016)

The 240 m2 mural of Anne Frank's face in combination with a variety of colors and geometric shapes has become one of NDSM's eye-cathers.
This work, created by street artist Kobra commissioned by Stichting NDSM-werf and the STRAAT Museum, stands for the message of resistance, hope, freedom for all and against oppression of anyone. The portrait reminds passers-by of the importance of fully respecting everyone's identity.

The Narcosexuals

Production will arrive on September 16 and 17, 2023 The Narcosexuals by theater maker and artist Dries Verhoeven to NDSM. With this loop performance, Verhoeven explores the world of chem-sex: sexual drug use, a phenomenon that is gaining popularity especially among gay men. Scrolling through their phones, the players look for sex, top-shelf sex, sex beyond the imaginable. This production has been nominated for the VSCD Mime/Performance Award season 2022/2023.

In the course of 2021, designers Sue Doeksen, who has had a studio in the NDSM Loods since 2012, and graphic designer Jord Noorbeek, commissioned by the NDSM-werf Foundation, set to work to renew the shipyard's hostess. The reason to change from being a shipyard icon right now is to show that the shipyard is far from standing still and to pay tribute to all future eyes who will see the arch for the first time.

The container arch welcomes every visitor to the NDSM shipyard; from festival-goer to visitor to walker. Unfortunately, the usually so bustling and lively area remained a lot quieter than other years last year. Nevertheless, we are looking forward to the future as bright as the container bow, and we thought it would be a good time to look back at all the different appearances the bow has taken so far.

2018

The bow was born in 2018, when the festival DGTL wanted to add something new to the festival site for that year's edition. In collaboration with artists from the shipyard, the arch was initially created with a black appearance with white lettering on the head that spelled DGTL. Anyone who has had the pleasure of ever visiting DGTL knows that this event is about discovery, inspiration and surprises. The festival is characterized by its industrial atmosphere and free-spirited character. A stage for both established artist and beginning DJ. It is precisely for these reasons that the bow was and is a special part of the festival.

Surely it means something that he is still there and that a different picture is given to it every time.

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After this successful year of the festival, the bow was left behind at the shipyard as a relic for practical reasons: a reminder of yet another successful edition of DGTL. But instead of falling into ruin, the arch turned out to be a key figure in the shipyard and began her own life.

After DGTL 2018, almost every festival or event at the shipyard has adopted the bow as part of the site and added its own flavor. Sometimes an entrance for visitors, sometimes a detour in the walking route on the site or a triumphal arch that offered some shade at the shipyard on the hot days. But above all, a place where many dances have been daring over the years. Legend has it, that if you put your ear close enough to the bow, you can hear the people partying! Partly because of this, but also because of the changeable weather in North Amsterdam, the bow was often the result of a restoration round where the current colors were slightly enhanced again. This is also the case in 2019 when the Drumcode festival organized their event at the Docklands (the square between the two warehouses) and provided a great opportunity to refresh the paint layer again.

The licks of paint that the bow has now received can no longer be counted on one hand. In addition to the fact that the container arch has often been repainted, she has also often had temporary faces. By means of canvases, light projections or other innovative ideas, event organizers at the NDSM shipyard gave the container arch their own twist.

“It certainly means something that he is still there and that a different picture is given to it every time,” says Petra Heck, curator at the NDSM-werf Foundation. “It's such a remarkable sight on the shipyard, it's pretty special that he keeps changing with the times”. A great example of the icon in full glory was, among many others, the Elrow festival. With the theme “Together we make magic happen”, Elrow is a festival of color, creativity and, above all, a lot of craziness. In 2018, the festival took place at the NDSM shipyard and used the container arch as an eye-catcher on the site. By using emoji-like icons, another layer of paint and huge inflatable animals, the organization gave its own interpretation to the arc.

2021

Now the bow is black, blue and white. Inspired by Eberhard van der Laan's last words to the people of Amsterdam — who enjoys their own portrait at the Docklands right behind the arch — the words “Be kind” originate in geometric shapes on the arch. The text is disguised in both form and color and is part of a larger graphic work, so the message is not easy to decipher at first glance. The back looks like an abstract halo. The sides show the versatility of the NDSM shipyard: an owl that represents wisdom and magic and a court jester that symbolises fun and fun. This new identity of the arch gives a somewhat quieter impression compared to the fierce, screaming graffiti artworks on the rest of the Docklands. But maybe this is exactly what makes the design so appropriate. The shipyard is a home for experimentation and contrast that the iconic container arch does not escape either.

“It's also about the recurring question: when does something belong to the public space?” says Petra Heck. “The underlying idea of this new design was also to add to the bow's familiar role. So far, it has been a festival beacon for many people; with this new jacket, he might become a bit more part of the public space. He welcomes everyone who visits the shipyard, not just those who come with a ticket to an event.”

Where the NDSM shipyard would normally buzz around this time with the cautious first musical sounds of the festival season or the first outdoor stalls of the IJ-Hallen, it still remains to be seen when and what will be possible on a large scale at the shipyard. With a bit of luck, the shipyard icon can welcome the required number of people again this year. For example, DGTL 2021 has been moved from Easter weekend to September in the hope of organizing a full batch again after the summer. Until then, the container arch is still the shipyard's steadfast icon, welcoming everyone who comes to take a look and reminds us to be kind to each other, especially at this time.

Curious about another glimpse into the process of editing the bow? During the podcast NDSM X, Ewa Scheifes (programmer of the NDSM-werf Foundation) and Petra Heck spoke to creators Sue and Jord about how to redesign such a familiar object on the shipyard. You can find the link to this episode here:

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Can you introduce yourself to the DGTL audience and provide insight into your artistic journey and the themes you explore in your work?

My name is Sioe Jeng Tsao, also known as SEEYOUSIOE, and I'm a queer artist and activist of Chinese origin, born in Amsterdam.

Your work explores various social themes such as LGBTQIA+ rights, mental health, feminism, sustainability, racial justice, and gender equality. Can you explain why these topics are important to you and how you believe art can contribute to these discussions?

These social themes are deeply important to me because they reflect my own experiences and the challenges I've encountered. By creating art around these topics, I can share my perspectives and contribute to greater awareness.

How does art serve as a catalyst for encouraging contemplation and discussion about important social issues?

Art has a unique power to spark conversations, challenge perceptions, and inspire action. By addressing these issues through my artwork, I strive for empathy, understanding and positive change in society. I believe that art serves as a catalyst for important discussions and can ultimately lead to a more inclusive and just world.

Your creation for the container arch, entitled EMPOWER, encourages reflection, encouragement, and the celebration of love. What inspired you to address these specific themes in your artwork?

The inspiration behind my artwork 'EMPOWER' comes from seeing Amsterdam's changing landscape, especially for the LGBTQIA+ community. From once being a haven, I've seen a shift where many within our community are marginalized and unheard. “EMPOWER” serves as a response to this transformation and strives for reflection, encouragement and the celebration of love. It symbolises a call to action for unity and solidarity within the LGBTQIA+ community, emphasizing that we are stronger together. The container arch acts as a gateway to a space of strength, acceptance, and support, where individuals from diverse backgrounds can find comfort and empowerment.

How do you believe that festivals play a role in promoting dialogue and awareness about these critical social issues?

Festivals serve as powerful platforms for promoting dialogue and raising awareness about critical social issues. They can bring diverse audiences together and provide immersive experiences through art, music, and performance, encouraging the reflection and dialogue we need. By collaborating with local activists, artists, and organizations, festivals can increase their impact by connecting participants with more resources for further engagement. I believe that festivals, like art, can serve as catalysts for starting conversations and promoting positive social change.

And what does it mean for you to show this piece in the context of NDSM's public space, outside the specific festival audience?

Exhibiting this artwork in a public space increases its impact beyond the festival audience, making it a symbol of empowerment and visibility for the LGBTQIA+ community and beyond. It will be a statement of inclusion and acceptance, inviting individuals from diverse backgrounds to connect with the message of solidarity and love. “EMPOWER” increases its ability to initiate conversations, challenge perceptions, and inspire positive social change on a wider scale.

Can you provide insights into your creative process? How do you generate ideas and how does the environment or placement of your art influence your work?

My creative process is deeply rooted in my own reality as a queer woman of color. I draw inspiration from my personal experiences, navigating through different social contexts and identities. In addition, I actively seek diverse perspectives by reading books, attending events, workshops and panels from different backgrounds. This exposure allows me to broaden my understanding and empathize with a range of experiences that people navigate.

What emotions or reactions do you hope to evoke from viewers when they experience EMPOWER?

When experiencing “EMPOWER,” I strive for viewers to not only experience a sense of solidarity and strength within the LGBTQIA+ community, but also pause and recognize that queer love doesn't always come naturally. By framing “EMPOWER” as a verb, I want to emphasize the active process of empowering and celebrating love. I hope the artwork evokes feelings of encouragement, hope, and reflection, inspiring viewers to consider the significance of inclusivity and empathy in advocating for social change.

The NDSM Open Call was born in 2018 from a mutual wish between Stichting NDSM-werf and Stichting Kinetisch Noord (NDSM Loods) to highlight artistic initiatives specifically from the so-called “breeding ground” of the NDSM shipyard. The NDSM shipyard is a place for art, culture and creative ingenuity, and the resulting ideas are often inspired by this ever-changing area and are of great value to its identity.

For this reason, the NDSM Open Call was created; the assignment has remained essentially the same in those years: submit an idea for a cultural intervention at NDSM. No distinction is made between art form, medium, subject, specialty, area of interest or material. In principle, the type of projects is also completely open: from performance, to art installation, to festival, everything goes and everything is possible. The projects must be realized at NDSM (in the outdoor area or inside the warehouse) and can be seen and visited by the public.

With this information under our belt, we've received nearly 100 submissions from creators and creatives at the site over the past few years. An ever-changing program council decides which entry (s) can be realized that year.

2018

In the first year of the NDSM Open Call, no less than three entries won: The Birds - Hélène Min (2018), The Dutch Nightingale - Eibert Draisma (2018), The Street Theater Festival - Pieter Post (2018) (support).

De Vogels| Hélène Min (2018)

An animated film inspired by the Greek comedy of the same name that commented on the cramped city and meddling residents. From her studio under the X slope, Hélène makes birds from fish skins that become completely transparent when they dry. The light in the old slipway brings the birds to life.

In the animated film, two Athenians leave the city and call on the birds to build an ideal city in the sky. The subjects of Ancient Greece translate into the present in De Vogels.

De Hollandse Nachtegaal| Eibert Draisma (2018)

The inventor and designer Eibert Draisma is exceptionally inventive and inventive. His work is driven by an unceasing fascination with how things work and the why behind them. As part of the NDSM Open Call, Draisma created a proposal for an interactive songbird machine: via Bluetooth or Spotify, visitors can decide for themselves which song the Dutch Nightingale sings to them.

2019

In the second year of the NDSM Open Call, several winners also emerged: Henk Schut — Right Of Way (2019), Babok, Guido Bevers and Carina de Wit — PolderCoaster (2019), Marc Faasse — Document NDSM Street Art photography (2019), Marc Faasse — Document NDSM Street Art photography (2019), Balthasar Prinsen — Ascending (2019).

Document NDSM Street Art photography | Marc Faasse (2019)

Based on the constantly changing street art at the NDSM shipyard, Marc Faasse with NDSM Street Art Document would like to photographically document the transition that the NDSM is currently undergoing.

Right of way | Henk Schut (2019)

Right of Way was a sound installation at the former skate park in the NDSM Loods (now NDSM Fuse). On this “attic”, visitors were able to take a break from the speed of daily life and urban developments in Amsterdam. Using a self-designed computer algorithm, a spatial game with 64 speakers was created with simple sounds. In the almost empty space, visitors noticed how they rocked the hall into a sounding board.

PolderCoaster | Babok, Guido Bevers and Carina de Wit (2019)

Babok was founded in 2005 to make visual theatre for public spaces. Polder Coaster is in the words of Babok the “absurd, theatrical version of a roller coaster in the form of an energetic, hilarious and highly interactive street show.” The NDSM Open Call further supported this project in 2019.

Ascending | Balthasar Princes (2019)

Ascending was an idea of Princes where he turned the North Strip of the NDSM Loods into the roof of a cathedral with arches. The North Strip has been called (an industrial) cathedral many times and Prinsen wanted to create a new place for silence, encounter and gathering where metal used to be melted and forged with lots of sounds. This project was finally realized in 2021.

2020

In 2020, the NDSM Open Call must be adapted to a drastically changing world, due to the consequences of the corona crisis. The new assignment: “Visualize what the future use of public space might look like in whatever form”. It still needed to be publicly accessible, so this year the initiative had to be on the shipyard's outdoor site. The famous winner: The Museum of Unintentional Art (MOK)).

The Museum of Unintentional Art (MOK) does not put the artist on a pedestal, but the visitor and his imagination. They do this by placing everyday objects or compositions in a museum context. This often results in hilarious interventions in the public space.

2021

The 2021 NDSM Open Call still had limited options due to the consequences of the corona pandemic. Nevertheless, there were two winners this year: Animal Factory by Luca Boscaridn (2021), and Public Air Filters by Anne Jan Reijn (2021).

Animal Factory | Luca Boscardin (2021)

With 'Animal Factory', toy designer made from the NDSM warehouse Luca Boscardin playful elements for the urban jungle of the NDSM shipyard by creating minimalistic animals. A positive picture at a difficult time when animals are taking over more and more cities, because people had to stay inside. The multifunctionality of his animal kingdom fits the use of the site; for example, they served as a play object, alternative sports equipment or meeting place.

Public Air Filters | Anne Jan Reijn (2021)

In cooperation with New Dakota, Anne Jan Reijn three large air filters in NDSM's public space. As a result, Reijn made the visitor think about invisible dangers in the air that we surround ourselves with and that we breathe. How healthy is this air really? By filtering a little bit of air into the public space, a question was immediately raised: is the rest of the air, which is unfiltered, perhaps not to be trusted?

2022 and 2023

Unfortunately, there were no winners of the NDSM Open Call in 2022. The last edition of the NDSM Open Call in 2023 had a longer production period, allowing the winners to realize their work in 2024. Creators Catarina Garcia and Jim Du Pan realized this year Under Pressure with half the crane as a base on the NDSM wharf. With this work, the artists highlight the cycles of transformation of the NDSM shipyard, an area that has moments of crisis and destruction but also stages of revival and redevelopment. All information about this work can be found at the culture page.

Also listen to the podcast episode NDSM X Caterina Garcia and Jim Du Pan.

2024

Registrations for the NDSM Open Call 2024 are now open. Do you have a studio or workshop at NDSM and do you have a good idea? Let us know! Click here for more information about this year's NDSM Open Call.

Can you tell us how the “sense of belonging” theme became a common thread in your projects?

It took me many years to figure out where I belonged, after leaving my very intense, close-knit family home. My grandmother was French, my grandfather and great-grandfather and mother were nomadic and had grown up in a European circus, my father and uncle were classical musicians, and my Scottish mother was a textile artist. We lived in Holloway, London, and I went to the local school. Very early on, I realized that the children at school had a completely different family life than me. I tried so hard to fit in, but I always felt like an outsider. At home, however, I felt loved, belonged and felt very safe. Once I left the house, I had to search for my own sense of “belonging” for a long time. I tried to replicate the sense of family that I had loved so much, but eventually I realized that wasn't what I was looking for. I believed that belonging was one definite thing, probably due to underlying conditioning by education and society, but in reality, belonging is individual and doesn't have to be what you think it should be.

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NDSM is an ever-evolving place with an existing community and new communities that are constantly growing.

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Finally, 20 years after leaving home, I discovered what it meant to me. For me, that was having space and freedom to express myself and be in a relationship where I'm embraced and encouraged to be myself. I need to be loved and have someone to love, but I realized I don't need that by being a mom, which is a big step for a woman to admit that to herself.

Once I understood what feeling at home meant to me, I set out on a mission to discover what it means to others and how understanding the complexities of feeling at home can bring communities together.

What do you think this theme means in a dynamic place like NDSM or Amsterdam-Noord?

NDSM is an ever-evolving place with an existing community and new communities that are constantly growing. By doing the workshops, I gained insight into different perspectives. It was clear that some people saw change as a threat and others saw it as an exciting future. From an outsider perspective, it felt very important that all groups spoke to each other and began to see what the possibilities could be as soon as they began to understand each other.

You did workshops with individuals from Amsterdam (North) as part of the project. How did these workshops influence the development of the artwork?

By listening and understanding different points of view. All the phrases and words used in the installation come from the words people wrote down in the workshops to express how they feel about what's happening, how they'd like to see the future, and what feeling at home means to them. Seeing the energy and creativity in the workshops was incredible. All participants were fully engaged and wanted to share their thoughts and opinions. There was a passion for living in a developing place and they were part of that evolution. Living in a place where they experienced huge changes and learned how to deal with them. Some people weren't too happy and wanted to be heard, while others wanted new things to flourish.

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Belonging can be very fluid and different for everyone, but at the same time a collective experience.

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The workshops brought out a lot of feelings, passion, joy, anger, questions, discussion and emotion. Some stories were about the past and some were enthusiastic about the possibilities. Great personal events were shared and together, an image was formed of a new strong community. The poet Mahat Arab summarized this perfectly in his poem that resulted from these conversations.

“(Leave) Space for Space” aims to create a sense of belonging within the community. How do you see the artwork promoting connections and resonating with the people, both residents and visitors to NDSM?

I hope that the words and phrases that came out of the workshops and now adorn the installation resonate with the community and passers-by. The words are exactly as they were written in the workshop. It's important to me that when I create a collaborative installation, participants can recognize themselves in it and that they feel a sense of ownership and belonging.

Having worked with many communities around the world, I always feel very privileged to have had the opportunity to sit with people and listen to their stories. I'm always impressed and grateful how generous people are with their thoughts and ideas and how much they enjoy sharing and wanting to be heard. I often feel humbled to be just part of the process. Looking for belonging is so important in people's lives. It is not fixed, it is individual. You can find and lose belonging, or choose to look for a different sense of belonging at different points in your life. Feeling at home can be very fluid and different for everyone, but at the same time a collective experience.

Check out Charmaine on her website and Instagram.‍

Charmaine, you graduated from the Master Photography and Society at the KABK. Where does your love for photography and images come from?

When I was a kid, I got an analog toy camera. I remember the discussions about how many photos I took and the costs of developing them. I loved capturing moments. I also used to browse through the magazines my mom read and was intrigued by a photo of Inez van Lamsweerde and Vinoodh Matadin. In that photo, two women are standing on racing bikes wearing shorts; one holding a raketje (ice cream), while a rocket takes off in the background. That image has always stayed with me; it had something absurd, but everything was right. It may not seem so special with the digital tools anymore, but this was back in the 90s. I was blown away by this photo as a little girl.

Years later, I visited an exhibition of Gregory Crewdson and I fell in love with images. In a video, he showed how he set it all up, and the idea that a concept could be captured forever fascinated me, and then I realized that you could create anything you wanted with photography. I now use my visual work to confront people with the colonial past and its influence on contemporary society. Sometimes I can also be provocative about this. I also see images as a tool for education and dialogue, and to highlight topics that don't get enough attention.

How would you describe your own practice, what is currently keeping you busy in your work?

As a person of color, I find it crucial to visually depict our experiences. My work often focuses on my Surinamese and Dutch cultural background, with a specific focus on colonialism. I mainly use photography and work a lot with archival material. I see working with these archives as a method to decolonize them and bring out new perspectives.

Recently, I completed the start of my project “Een geketende Reis” (A Chained Trip), a project with video, photography and an experiential performance. The central question here is: what does it feel like to have been enslaved in the past? During the performance, the audience was taken into the terrible journey of the enslaved and became an active part of the experience. This project was part of the anniversary year of slavery in Alphen aan den Rijn. Currently, I am working on further developing this project.

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You can't change the whole world with art, but art can change someone's thoughts and perspectives.

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In addition, I am currently working on other projects that highlight the colonial past in different ways and each have a different focus. There are countless stories about the colonial past that need to be told, and I always select another specific topic to highlight. Hopefully, this will encourage people to become aware of the deep-seated impact of colonialism on our current society and history.

You are one of the alumni of the QISSA development process for visual image-makers. What did this process bring you?

I still often think back to my participation; it was a special experience that brought me a lot. It was the best exhibition opening I've ever experienced: very diverse, and the sense of inclusion was strong. I met a lot of new, fun people. The masterclasses were both educational and fun! My participation has given me skills that I can use for the rest of my artistic life.

As a project, I created a book, “The Netherlands is the Best”, that explores and reveals the absurd remains of colonialism that are still entrenched in Dutch society. It started with finding an ad on Marktplaats about necklaces that were once used on enslaved people, and led to much more research. We were given the artistic freedom to develop our vision. Without this freedom, the book would never have become what it is today. We were appointed a coach; mine was Ashley Röttjers, and we had conversations with the exhibition curator, Guinevere Ras. Their guidance and support really made me grow within the project.

What role do you think art and storytelling can play in social change, including looking at your own projects?

You can't change the whole world with art, but art can change someone's thoughts and perspectives. And that person, in turn, can influence others, causing a chain reaction of change, no matter how small or large. Maybe that person changes the minds of two people, but maybe six people. An example of this is a message I once received from someone who told me about my book “The Netherlands is the Best” at school. For me, this illustrates the ripple effect: someone sees my work and then shares it with others. This is how the message spreads.

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My experience as a maker has given me a great deal of insight into the themes of the colonial past and its influence on the present.

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I think art makes difficult themes accessible, it stimulates reflection and awareness, and art projects can promote social change through education and storytelling.

Together with QISSA, we invited you to work as an NDSM Young Curator in NDSM's public space. What made you respond to this call?

I worked as a co-curator several times, and the idea of organizing my own project about the colonial past has been in my head for a while now. In order to do this properly, I want to learn more from professionals about organizing projects/programs and being a curator. The Young Curator project offers the opportunity to learn and do this! I hope to learn how to bring a complex topic to the public in a good way. It is a valuable opportunity to develop new skills and apply them later in future projects.

How do you look at this place? How familiar are you with the terrain?

I think the NDSM-wharf is a special and unique place in Amsterdam. The site is accessible to various target groups, which for me contributes to inclusiveness. I have been to NDSM several times; I watched street art there and, of course, also visited the museum. I also think street art plays an important role at the NDSM-wharf. I used to hunt for treasures at the IJ-Hallen and went there for parties. As a result, I am aware of the versatility of the terrain and the ways in which it is used, which I want to include in the development of the intervention.

What challenges and opportunities do you see within the project?‍

I see it as an interesting challenge to address a diverse target group. I also see the weather as a challenge, I hope it stays dry during the program! I find young makers fascinating, both recent graduates and self-taught artists, and I prefer lesser-known artists who haven't had much exposure yet. So I hope to make new connections with that during the project.

You work as an artist and maker, and as an NDSM Young Curator, you will work more in the role of curator or program maker. How do you look at that?‍

For me, these roles are interrelated. My experience as a maker has given me a great deal of insight into the themes of the colonial past and its influence on the present. Research is an important part of my artistic practice, and I include this knowledge in my role as Young Curator. I think my background as a maker also allows me to empathize well with the artists. I understand the challenges they face. Both roles complement each other and have the same goal for me regarding the theme of the colonial past and the impact on contemporary society.

In het kader van de 3Package Deal hebben Stichting NDSM-werf, Over Het IJ en Das Theatre de coalitie Urban Realm gevormd. Deze coalitie ondersteunt recent afgestudeerde Das Theatre-kunstenaars binnen de context van de Urban Realm van NDSM. Deze editie is de 3Package Deal-kunstenaar de freelance performance maker, schrijver en performer Fariborz Karimi.‍

Kun je jezelf eerst even voorstellen en iets vertellen over je artistieke praktijk in het algemeen?

Mijn naam is Fariborz Karimi. Ik ben theatermaker en heb mijn master afgerond aan DAS Theatre in Amsterdam (AHK) in 2023. Daarvoor woonde ik in Teheran, Iran, waar ik mijn bachelor in theaterregie en acteren behaalde (2012). Mijn praktijk draait om de concepten samenwerking met vrienden, intimiteit en zelfcensuur. Ik onderzoek hoe vriendschappen en zelfcensuur verweven zijn met de systemen van de omgevingen waarin we leven. Daarnaast onderzoek ik hoe verschillende realiteiten aan elkaar gekoppeld kunnen worden of hoe ze overlappen rond deze concepten. Dit leidde in mijn laatste werk tot een vorm van samenwerking op afstand.

Je bent afgestudeerd met een theaterstuk bij DAS dat het publiek in september kan zien bij Fringe. Kun je dit stuk kort introduceren?

Het stuk dat ik ontwikkelde tijdens mijn master aan DAS Theatre heet “Oh, Wild Gazelle, Where Are You?”. Het is een collectieve droom die vriendschap en nabijheid biedt, zelfs wanneer we, als samenwerkers en vrienden, fysiek ver van elkaar verwijderd zijn. Het stuk is gemaakt in samenwerking met een choreograaf in Iran, die het stuk op afstand en live uitvoert en leidt. Samen als groep van makers onderzoeken we hoe censuur evolueert in verschillende contexten en hoe het ons als kunstenaars beïnvloedt. Dit stuk werd voor het eerst gepresenteerd op het Cement Festival in Den Bosch in maart 2024 en we zullen het opnieuw presenteren tijdens het Fringe Festival in Amsterdam in september.‍

Zou je iets willen zeggen over de rol van de publieke ruimte binnen je praktijk?

Mijn onderzoek naar zelfcensuur en vriendschap gaat dieper in op vragen over solidariteit binnen bepaalde groepen, gemeenschappelijk denken, collectieve creatie, overleven en bescherming, culturele normen, geïnternaliseerde censuur en de invloed daarvan op identiteit in onze publieke ruimte.‍

Wat betekent het voor jou om nu te werken en wonen in Nederland?

Leven en werken in een land met een aanzienlijke kloof tussen de culturele en politieke landschappen van mijn thuisland is zeker een uitdaging. Het navigeren door de privileges van de Europese context en het vinden van manieren om mijn werk te de-exotiseren, kan ook lastig zijn. Echter, als kunstenaar word ik geïnspireerd door deze uitdagingen en vind ik het interessant om te onderzoeken hoe ze mijn praktijk en creatieve proces beïnvloeden.‍

Aan welk nieuw project werk je op dit moment (bij Productiehuis TR in Rotterdam in het najaar) als onderdeel van de 3Package Deal?

“Whispered Dreams” is het nieuwe project dat ik ontwikkel in 2024-2025, wat ook deel uitmaakt van mijn 3Package Deal-traject. Het zet mijn verkenning van vriendschap en zelfcensuur voort, waarbij ik dieper inga op hoe vriendschap een politieke rol kan spelen, zelfs in deze donkere tijden. Samenwerking staat centraal in dit werk, waarbij alle medewerkers mijn vrienden zijn. De co-schrijver en performer werkt op afstand samen vanuit Teheran. Deze verbinding op afstand, samen met de deelname van het publiek via tekst en dromen, vormt de basis van de opzet. Ik ontwikkel dit werk door middel van verschillende residenties zoals BUDA (Kortrijk), Hellerau (Dresden), Productiehuis Theater Rotterdam en WpZimmer (Antwerpen).‍

We willen de lezers uitnodigen om je stuk te zien bij Fringe in september. Kun je de details van waar en wanneer met ons delen?

“Oh, Wild Gazelle, Where Are You?” wordt gepresenteerd op 12, 13, 14 en 15 september als onderdeel van het Fringe Festival Amsterdam. De locatie is LikeMinds in Amsterdam Noord en tickets zijn verkrijgbaar via de website van het Fringe Festival. https://amsterdamfringefestival.nl/oh-wild-gazelle-where-are-you/

Over de 3Package Deal

Bemiddeling voor een woon- en werkruimte en een individueel ontwikkelingsbudget (€25.000) voor talenten, en begeleiding van een interessant en nuttig netwerk - dat is de 3Package Deal. Dit succesvolle programma van het AFK (Amsterdams Fonds voor de Kunst) en Bureau Broedplaatsen van de Gemeente Amsterdam in samenwerking met 45 gerenommeerde Amsterdamse organisaties, die hun netwerk, kennis en locaties voor hen openstellen, wordt nu beschouwd als een best practice op het gebied van talentontwikkeling.‍

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