Stichting B.a.d werd in 1987 opgericht door een groep kunststudenten en is sinds 1991 op haar huidige locatie gevestigd in een voormalig schoolgebouw aan de Talingstraat 5.
B.a.d wil in de eerste plaats studio’s aanbieden aan haar leden. Daarnaast zijn er gastruimten en een ruimte voor presentaties en evenementen. We bieden tijdelijke gastateliers voor lokale en internationale artiesten. Als een stichting met meer dan drie decennia ervaring, zijn we er trots op dat we meer dan 400 gasten uit de hele wereld hebben verwelkomd.
In samenwerking met State of the City#7_International Residency Paviljoen… aan het Water presenteren wij met trots onze internationale gastkunstenaars. In de centrale hal van ons gebouw presenteren zij recent werk: een spannende selectie hedendaagse kunst.
Talingstraat 5, 3082 MG Rotterdam
Sat/Sun 13.00-18.00 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.
Kunstenaarsinitiatief Stichting B.a.d presenteert samen met State of the City#7_International Residency Program Paviljoen … aan het Water en Zimmerfrei#1_guesthouse NAC foundation, vol trots onze internationale gasten. Zij presenteren nieuw werk in de ruimtes van Stichting B.a.d!
Op zondag 10. november, presenteren zij 3 performances:
– vanaf 18u Clémence Mimault & Daniel Mitelberg “presenting their Guest Suit”.
– 18u30 Aurélie Nyirabikali Lierman & Mahatsanga LeDantec live music meeting.
– 19u Aurélie Nyirabikali Lierman: sound performance.
Clémence Mimault and Daniel Mitelberg: “T-shirt Room”, 2018
Informatie over de kunstenaars:
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 www.collectifchuglu.wordpress.com.
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 interested 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: