In Wenzel vecht, we follow Wenzel as she begins work on the Razzia Monument and during the construction of the exhibition Carte Blanche (Fuck the Dictator) at the Stedelijk Museum Schiedam. The entire process of constructing a monument is carefully documented. We also see Wenzel fighting in the boxing ring against a museum director, in her studio with clay and within the museum, against the rules and expectations of the institution. At the same time, Wenzel also struggles with feelings of guilt and injustice within her own past and a broader history, and manages to give these a place in the Razzia Monument and her other work.
Activity
Screening The Neon Hieroglyph and Artist Talk with Tai Shani
The Neon Hieroglyph interweaves a series of poetic reflections around a feminized history of ergot, a fungus that grows on rye and other grains and from which LSD is derived. After the film screening, curator Saskia van Kampen will engage in a conversation with Tai Shani.
Sunday 12 October
2 PM - 4 PM
Location: Depot, Education Studio, 2nd floor
Entrance: regular Depot ticket required, r.s.v.p. via educatie@boijmans.nl
Art in public spaces is a meaningful platform for unknown or hidden stories such as that of the Rotterdam Razzia. The monument is now part of Rotterdam's sculpture collection, a collection that does not yet feature many female artists. For Wenzel, the realisation of a monumental work in her home city of Rotterdam is a milestone. Gad, Wenzel and Van der Meijden discuss the future of monuments in public spaces. What role do they still play in our society? Should we continue to cherish this form or radically rethink it – and how do today's artists respond to this legacy? House of Fools (Witte) is now being presented in an expanded form, developed especially for the exhibition, in The stories we tell in Gallery III of the Depot.