Foundation B.a.d

Foundation B.a.d was founded by a group of art students in 1987 and has resided at its current location, a former school building on Talingstraat 5, since 1991.
B.a.d’s principal aim is to provide studios to its members, guest studios, and a venue for presentations and events. We offer temporary guest studios for local and international artists. As a Foundation with over three decades of experience, we are proud to have hosted more than 400 guests from around the world.

In collaboration with State of the City#7_International Residency Paviljoen… aan het Water, we proudly present our international guest artists. In the central hall of our building, they will show new work.

Talingstraat 5, 3082 MG Rotterdam

Sat/Sun 13.00-19.00 h.

We Are All Guests #3
Clémence Mimault & Daniel Mitelberg – members of the collective Chuglu, Mahatsanga Le Dantec, Renate De Bonis, Daniel de Paula, Aurélie Nyirabikali Lierman, Andrea Eva Győri, Micol Grazioli.

Artist initiatives Foundation B.a.d, State of the City # 7_International Residency Program Paviljoen … aan het Water and Zimmerfrei # 1_guesthouse NAC foundation, proudly present our international guests. Together they will present new work in the hall of Foundation B.a.d!

On Sunday 10. November, they will present 3 performances:
– starting 18h  Clémence Mimault and Daniel Mitelberg “presenting their Guest Suit”.
– 18h30 Aurélie Nyirabikali Lierman and Mahatsanga LeDantec  live music meeting.
– 19h Aurélie Nyirabikali Lierman will make a sound performance.

Clémence Mimault and Daniel Mitelberg: “T-shirt Room”, 2018

Artists’ information:

Clémence Mimault & Daniel Mitelberg – members of the collective Chuglu:
People from Chuglu often travel to meet and gather somewhere.
Once they exchanged the two letters of two light sign advertisements (the point of the i) from two rooftops facing each other in Bagnolet, Paris.
An other time they asked for silence with zinc pipes and dressed with pyjamas on the top of a water tower in “Chutes Lavie“ neighbourhood in Marseille.
One month ago, in the canton of Grisons in Switzerland, they have painted a barn with 15 kilos of blueberries picked in the mountains.
Once they made a “Soupe aux Cailloux“.
Another time, they went down from two mountains in the Toggenburg winking their colored umbrellas all spread out until they disappeared in the landscape.
Once, they found 49 people to wear and walk together as one with a 98-legs-pant that they’ve made. Only two puked.
From time to time they play football.
I remember that time when they had try to stop a train with a rugby maul, or did they?

Now you almost don’t need go anymore to

Mahatsanga Le Dantec:
“The first experience of monumental creation i did was when i worked as a carpenter. After a few days of assembly stood the complete framework of a house; rewarding completion of weeks of preparation on plan and in the workshop.
This materialization is fascinating. Starting from a mental conception of geometrical arrangement in negotiation between constraints of materials, site and human needs, to form a space in which daily behaviours will adapt over a long period of time, a space that will inspire gestures and also be rehabilitated by gestures.
I’m interesting by this process of adapting constraints to produce forms and objects that will integrate a landscape that will be readjusted to produce even more forms and other objects. Some sort of mechanism of self-digestion.
I consider architecture and urbanism as shaped forms of the world which can condition our perception and our emotional state.
It’s an instinctive thing, a kind of sensitivity, an imperious need and visceral connection to the environment.
It’s through the rhythm, or more precisely the rhythmical perception, i try to approach and experience the architectural sensitivity, in correlation between the movement and the space.
Inevitably music takes place in my research, as an articulation between disorder and regularity, allowing for the experience of movement and geometry with an intuitive, even instinctive character.
The shapes of the city and its architecture are kinds of choreography where the movements of inhabitants are planned, constrained or induced for a definite use.
I like the idea that by slightly disturbing these forms (towns, houses…), the written gesture may lose its function, becoming uncertain, even abstract, almost a dance.
A syncope in the score.
The power of anomalies.
I am attracted by the liberating feeling that art can generate. A decompartmentalization of the normative by experimenting with the openness, the flaw, the accident, the disorder, the absurdity.”

Renate De Bonis:
Renata De Bonis (1984) is an artist living and working between São Paulo (BR) and Rotterdam.
In her work, a need to give attention to the apparently invisible, forgotten, and insignificant, is made evident as a channel for reflection amidst the immediacy of our accelerated lifestyles within the Anthropocene. Her maneuvers suggests and constructs a variety of aesthetic strategies and formal solutions that range from sculptural investigations to ephemeral investigative sound-pieces on sublime landscapes and aesthetic-ecologies; from the appropriation of fragments of flora from specific geographies embedded with certain narratives to the usage of repurposed civil construction related materials; from time orientated paintings to cyanotype based prints; all in an attempt to trigger contemplative states of perception to the viewer amidst the hyper-immediacy atmosphere of competitive contemporary human experience.

Daniel de Paula:
Daniel de Paula, Brazilian [born in Boston, USA, 1987] lives & works between São Paulo & Rotterdam. The multiple propositions of Daniel de Paula intend to reflect upon the production of space as the reproduction of dynamics of power, thus revealing critical investigations concerning the political, social, economic, historical and bureaucratic structures that shape both places and relationships. Through a posture that is not imprisoned in the field of visual-arts, his practice and production is intersected by notions of geography, geology, architecture and urbanism, revealing his interest in understanding the complex social form hidden within the materiality. He was recently a resident at the Jan van Eyck Academie in the Netherlands.
Amongst recent exhibitions, residencies, and prizes the following can be high-lighted;
solo shows; “estrutura insuperável”, Kunsthall Ghent, Belgium (2019), “the conductive form of dominant flows”, Galeria Jaqueline Martins, São Paulo, Brazil (2017) ‘testemunho’ curated by Bruno de Almeida, Galeria Leme, São Paulo, Brazil (2015), “objects of mobility, actions of permanence”, White Cube Gallery, São Paulo, Brazil (2014), and ‘Program of Exhibitions’, CCSP – Centro Cultural São Paulo, São Paulo, Brazil (2011);
group shows;
“Brazil -Knife in the Flesh”, PAC, Milan, Italy (2018); “Matriz do Tempo Real”, MAC, São Paulo (2018); “Avenida Paulista”, MASP, São Paulo (2017); “Metrópole: Experiência Paulistana”, Estação Pinacoteca, São Paulo (2017); “ARTE PARA TODOS! Liberação e Consumo”, Instituto Figueiredo Ferraz, Ribeirão Preto (2016), “Nós entre os Extremos”, Tomie Ohtake, São Paulo (2015); “Da próxima vez eu fazia tudo diferente”, PIVÔ, São Paulo (2012).

Andrea Éva Győri
Andrea Éva Győri (1985, Budapest Hungary) studied in Fine Arts, at Hungarian University of Fine Arts in Budapest and Video/Performance/Sculpture/Installation at Staatliche Akademie der Bildenden Künste, Stuttgart in Class of Christian Jankowski, Mike Bouchet, Felix Ensslin. Studies of Fine Arts at HONGIK University; Asien Oriental painting studies, Seoul, Korea.
Andrea Éva Győri is artist in residence at Jan Van Eyck Multiform Institute for Fine Art and Reflection – Residency Program – Maastricht, The Netherlands (2017-2019); at SeMA NaNJI Residency Program for Art – Seoul Museum of Art, Seoul Korea (2015); in 2019 is artist in residence with one year fellowship at Künstlerhaus Schloss Balmoral, Bad Ems, Germany.

In 2019 Győri is having upcoming shows at MANIFESTA Foundation, Amsterdam NL; Amsterdam Art Weekend, Amsterdam, NL; and will show her work in 2020 in several Institutions and galleries like Kunstverein Ludwigshafen, Ludwigshafen, DE; Port25 – Raum für Gegenwartskunst, Mannheim, DE; ACB Gallery Budapest, HU; FUTURA Projects Prague, CZ (solo show)

Győri has presented her work at international institutions, including: Haus der Kunst, Munich, DE; Vleeshal Center for Contemporary Art, Middelburg, NL, (solo show); MANIFESTA 11, Löwenbräukunst Zürich; Grimmuseum, Berlin, DE, (solo show); Witte de With Center for Contemporary Art, Rotterdam, NL; Bonnefantenmuseum Maastricht, NL; IKOB – Museum of Contemporary Art Eupen, BE, (solo show); Arp Museum Bahnhof Rolandseck, Remagen, DE; Victoria Art Center, Bukarest, RO; SeMA NaNJI Exchibition Hall, Seoul Museum of Art, Seoul, KOR; Kuandu Museum of Fine Arts, Taipei, Taiwan; /si:n/ Biennial for Videoart and Performance in Palestine, Ramallah; Bundeskunsthalle Bonn, DE; Staatliche Kunsthalle Baden-Baden, DE; Bonner Kunstverein, Bonn, DE; Videonale15 Bonn; Kunstverein Familie Montez – Frankfurt / Main, DE; Seoul Art Space-Seogyo, Seoul, KOR; 12. Triennalle der Kleinplastik, Fellbach, DE; Württembergischer Kunstverein, Stuttgart, DE; Goethe Institutions in Washington, D.C., San Francisco, Chicago, Südafrika Johannesburg, Hermannstadt, Transylvania.

Aurélie Nyirabikali Lierman