CDCD Artist in Residency – Kunstfort Vijfhuizen (20th February 2025)

On the 14th of February, we visited Maria Luigia Gioffrè‘s collaborative research workshop “WAITING WARS,” inspired by soldiers waiting for the war to reach their door at the Kunstfort Vijfhuizen. Participants from diverse backgrounds, including students, artists, and staff from Kunstfort Vijfhuizen and H401, joined the workshop. Maria Luigia guided us through the day, which was split into two parts: starting with an open conversation about our associations with the concept of ‘waiting for war,’ followed by a physical exercise where we embodied those feelings and emotions.

 

These explorations all came together and helped shape Maria’s performance on February the 20th. In a dimly lit, red-tinted room, two figures moved slowly to a Calabrian lullaby, music from Maria’s home region. The room was filled with a sense of anticipation, as if something were about to shift. Yet, the figures continued their slow, steady movements, while the audience remained passive observers, much like soldiers once did in a similar bunker, waiting for the unknown. Afterwards, visitors shared their observations and impressions. The performance sparked some personal stories about war, conflict and broader reflections, much like in the first workshop. The exchange of thoughts and emotions enriched the experience. 

Next was “Heling!”, a text-based artwork concept by Carlos Noronha Feio exploring cultural creolisation, which focuses on the blending and transforming of cultures and languages through migration, trade, and colonial histories. The piece uses tulips to form the word, how tulips, though not native to the Netherlands, have become deeply associated with the country. Originally from Central Asia, tulips arrived in the Netherlands through trade and colonial expansion. This thought-provoking work sparked meaningful and confrontational conversations on identity, migration, and cultural exchange, highlighting the ways in which colonial history continues to affect our present and future.

These collaborative, dialogue-focused artworks are an essential first step in the artists’ creative journey within this project, establishing a foundation for further exploration of colonial histories, cultural identities, and collective memory. By encouraging open conversation and creative exchange, they pave the way for impactful artistic work that will offer fresh perspectives and challenge how we engage with the past. Maria Luigia’s and Carlos’ CDCD artistic journey and trajectory, which has just started in The Netherlands, will culminate in Xarkis in 2026 with a multi-residency with all the CDCD artists and the final arts festival.

We look forward to our continued collaboration and seeing how these inspiring projects develop!

March 2025 – Britt van Harmelen, intern at H401 BA student Reinwardt Academy.

 

EU Project: Peace and Mobilities

H401 is delighted to announce the launch of a new European Collaboration: Peace and Mobilities.

This four-year project, funded by the European Union’s Horizon 2020, Marie Skłodowska-Curie staff exchange programme, will study how people on the move contribute to the creation of visions of everyday peace.

Peace and Mobilities will focus on the concept of people on the move when referring to mobilities to include both people who are forced to move transitionally (e.g. refugees) as well as at the national level (e.g. internally displaced people). One of the key questions will be: how do people on the move create new understandings of peace, as more than a space without violence?

As a cultural partner within this consortium, H401 will contribute in the form of a number of artist-related activities, such as a residency and a travelling exhibition. We will organise, in collaboration with international partners, an Open Call for artists to contribute to the (positive!) relationship between ‘migration and peace’ and exhibitions that will highlight the theme.

Peace and Mobilities | Comillas University, Spain – May 2025

The project concluded another successful secondment – a one-month research period – at the Comillas Pontifical University, in Madrid (Spain). One of the key activities was the visit to the Melilla-Nador border, a Spanish autonomous city located in North Africa and bordering Morocco. Although for a short period, inhabiting the space in, and between, the two cities sparked reflections on the interplay of gender, securisation, and nationality when crossing borders with – or without – a European passport.

Follow the development of Peace and Mobilities on our social or via the project’s website, Instagram and YouTube Channel.

 

The Peace and Mobilities consortium includes: Universität Bielefeld (lead partner, DE), Universidad Autónoma de Chile (CL),  Universidad de Guadalajara (MX), Universidad Nacional de Colombia (CO), Universidad Pontificia Comillas (ES), Università degli Studi Milano (IT), Zaporizhzhia National University (UA) and Stichting H401 (NL).

 

Sustainability and renovation works at H401 / House of Gisèle

Due to renovation works, H401 / the House of Gisèle is currently closed to visitors. The building is undergoing a big series of works to implement sustainability measures to preserve the unique historical interiors in the years to come and to improve access to the house.

Currently, we are working on the renewed concept for our visitors after the re-opening of the house of Gisèle, as well as on our ongoing international cooperation projects ‘Training for the Contact Zone,  ‘Peace and Mobilities’ and ‘CONTESTED DESIRES: Constructive Dialogues’ continue as scheduled. You can follow the developments of these European Union-funded projects via our site and socials. 

There is no exhibition on show nor a project space to book, there is no availability to join a guided tour through the historic floors of the house of Gisèle nor any possibility for residencies at H401. New dates for the tours and availability of the guesthouse will be available after the summer break of 2025.

All the works are executed under the close supervision of our restoration supervisor VDVDP Architecten, Monumenten en Archeologie / Gemeente Amsterdam and several other experts, e.g. Rijksdienst voor het Cultureel Erfgoed (RCE).

We thank you for your understanding and we look forward to welcoming you in the autumn of 2025.

In the meantime, we can leave you with a sneak peek of our current look! Our contractor specialised in historical restoration made this short film, available here.

 

Training for the Contact Zone

We are pleased to announce the launch of the “Training for the Contact Zone” (TCZ), an Erasmus+ Adult Education project, running from 1st September 2024 – 31st  August 2026. The project aims to raise awareness about the importance and challenges that museums and heritage sites face in reaching and serving a broad and diverse audience. Training is essential to effectively develop and manage new approaches.

TCZ Partner Meeting in Hania (Greece), April 2025

Over the next two years, we will develop and test training materials for heritage sector professionals, artists, cultural mediators, staff, and volunteers. TCZ will conduct training sessions to enhance the skills of cultural mediators and innovate their practices. The main goal is to make heritage institutions more representative of contemporary European societies, promoting a transnational view of history and contributing to greater social inclusion.

Over the past months, the Training for the Contact Zone team has been co-creating a curriculum for the upcoming TCZ trainings. This curriculum is the result of a collaborative process, starting with a needs assessment where all partners shared insights into their local contexts, challenges, and resources. As the next step in this process, TCZ presented for the first time the working draft of the curriculum to an external audience that we refer to as the Community of Practice (CoP).



The TCZ Community of Practice  is an open, participatory forum where external cultural workers, educators, artists, activists, and other relevant stakeholders are invited to engage with the TCZ project. In other words, a testing ground that brings in fresh perspectives on TCZ and its outcomes. The Community of Practice organised by H401 brought together participants with diverse, multidisciplinary backgrounds — spanning participatory arts, memory studies, education management, decolonial practice, history, and the mediation and negotiation of conflicts and dialogues.

Follow the project development on:
– The TCZ website: Training for the Contact Zone
– Instagram: training_contactzone
– Facebook: Training for the Contact Zone

Training for the Contact Zone will be realised by:

TCZ project addresses the needs identified by the Heritage Contact Zone (HCZ), an EU-funded project under the European Year of Cultural Heritage (2018 to 2020). One of its final outcomes was the HCZ Toolkit an online handbook, free to access via: HCZ Toolkit.

ARTISTS SELECTION for CONTESTED DESIRES: Constructive Dialogues

We’re happy to announce that the selection process of the artists for CONTESTED DESIRES: Constructive Dialogues is now complete! 

After careful consideration, we are excited to reveal that The Netherlands-based Charmaine de Heij and Sithabile Mlotshwa will take part in the CDCD journeys.

We received many exceptional applications from talented visual artists. The diversity and quality of submissions truly exemplify the rich tapestry of artistic talent within our global community. 

Creative Court, Stichting H401 and Kunstfort Vijfhuizen are proud to present to you:

Charmaine de Heij

Charmaine de Heij is a photographer based in The Hague and holds a Bachelor’s degree in Photography and a Master’s degree in Photography and Society from the Royal Academy of Art in The Hague. Her artistic practice is deeply influenced by her Surinamese and Dutch heritage, with a particular focus on colonialism and its lasting effects. Photography is central to Charmaine’s work, but archives are also often used as a foundation. She reinterprets historical photographs and uses this method as a way of decolonising the archives.  

 

When I first saw the open call, it felt like a dream! As an artist who is passionate about shedding light on the impact of colonial legacies on contemporary society, this programme fits perfectly with my research and artistic practice. I believe it is crucial to continually learn and acquire new knowledge, and this opportunity offers that. 

 

Mi Sabi and Nyun Tori ©Charmaine de Heij

 

Sithabile Mlotswha

Sithabile Mlotshwa (Zimbabwe, b. 1975) is a Visual Artist and Curator based in the Netherlands. Notable exhibitions include: “The World Made Wondrous: Dutch Collector’s Cabinet and the Politics of Possession” at LACMA, “War and Conflict” Refresh Biennale, Amsterdam Museum, Golden Coach, (Gouden Koerts), Amsterdam Museum, UNITED NATIONS “Cultural Identity and Ownership: Reshaping Mindsets”, Prête-moi Ton Rêve, at Musée des cultures Contemporaines Adama Toungara d’Abobo, Abidjan, Biennale of Casablanca in Morocco, KUNST aus Zimbabwe – KUNST in Zimbabwe, Museum of Bayreuth, Germany, Coming of Age, at Museum of Aschaffenburg in Germany,  a commission for Kelvingrove Museums and Galleries in Glasgow, Scotland.

Built on the destruction of other peoples bodies ©Sithabile Mlotswha

My artistic practice centers on creating spaces for reflection, dialogue, and healing around historical and contemporary colonial issues. This residency aligns perfectly with my goals, as it emphasizes fostering constructive dialogues about contested histories and cultural identities. I’m passionate about using my art to bridge cultural divides, challenge dominant narratives, and promote understanding among diverse communities.

 

CDCD Artists in Residency – 2026

In 2026, we will have the pleasure to host for a two-week group residency: Elisabeth Efua Sutherland (GH), Emiddio Vasquez (CY), and Mohamed Ben Slama (TN).

For updates and insights into the CDCD project, be sure to follow us on Instagram and Facebook. 

We look forward to exploring and confronting the narratives of our shared colonial past through the power of contemporary art. 

#ContestedDesires #ArtForChange #DecolonizeCulture #Europe #Colonialism #Community #CapacityBuilding #Dialogue 

CONTESTED DESIRES: Constructive Dialogues is an EU-funded project

Europe … a neverending work in progress

te zien: 2 – 9 Juni 2024 bij H401

Verantwoording – door Merapi Obermayer 

 

verhalen die niet verteld worden

verhalen die tot verboden gebied zijn verklaard

uit ons geheugen moeten worden gewist

verhalen die belanden op de schroothoofd van de bureaucratie

die wortel schieten in de hoofden van nieuwe generaties

alwaar zijn een eigen leven gaan leiden

Verhalen waarover het laatste woord nog niet is gesproken

Het zijn juist deze verhalen die hun sporen voorgoed hebben nagelaten in het Europese landschap. Het is aan de nieuwe generaties iets te doen met die sporen en het zaad dat geplant is. Verhalen trekken zich niets aan van grenzen zoals blijkt uit mijn eigen verhaal dat luistert als een sprookje.

Dat is ook de manier waarop ik naar Europa kijk, met ogen zo groot als schoteltjes. In mij huist het DNA van de Europese, de Joodse geschiedenis en dat van een groot ver land dat ooit bezet werd door Klein duimpje, tot het in1949 eindelijk officieel onafhankelijk werd. In 1952 moesten mijn ouders en ik dat grote verre land verruilen voor Klein duimpje. Ik was vijf. Jong genoeg om uit te groeien tot een echte Europeaan. Wat mijn Nederlanderschap betreft: mijn verhaal en de bureaucratische verworven-heden van dat land werkten, zeker in het begin, niet echt mee.

In 1970 kwam ik, net aangekomen in Amsterdam, in aanraking met de term – de verbeelding aan de macht -. Op de poster stonden vrolijke witte mensen afgebeeld met de vuisten omhoog. Dat beeld bleef hangen. Tijden zijn veranderd, alsmede het kleurenspectrum in de straten. Wordt het geen tijd om te kiezen voor een andere tekst?’

Om in vrijheid te leven heb je verbeelding nodig

Ik heb ervoor gekozen om heel Europa in kaart te brengen en elk land een eigen frame te geven. Deze

staat voor het natie-denken. De routekaarten zijn door vele handen gegaan alvorens ze in de mijne kwamen. De handgeknoopte touwtjes vertegenwoordigen de mensen en de verhalen. Op deze manier wil ik de verdeeldheid als wel de gedeelde geschiedenis van het Europa van vandaag uitbeelden.

Het is ook een eerbewijs aan die oudere Joodse dame die jaren na de tweede wereldoorlog de moed had terug te keren naar Europa om op zoek te gaan naar de verhalen die haar vader had verteld en die hun sporen in hem hadden achtergelaten. Niet te vergeten Archie Fire Lame Deer, spiritueel leider van de Lakota’s die ik kende vanuit New York. Hij bracht mij op het spoor van de handgeknoopte touwtjes.

– Untold stories – genoeg om je zakken mee te vullen en uit te delen.

de foto’s zijn gemaakt door: Ayunda Stel

 

Over landgrenzen, fractal en ophangsysteem een reflectie op “Europe… a neverending work in progress” geschreven door architect, fotograaf, kunstenaar Magdalena Jesionek

 Project “Europe… a neverending work in progress” van Merapi zag ik al bij haar thuis. Toen waren het vitrines gevuld met labels, gemaakt van gesnipperde (versneden) autokaarten van een aantal Europese landen. Ik heb zelfs bij vrienden enkele autokaarten van Polen en van andere voormalige Oostblok landen voor haar verzameld. 

Maar wat was ik verrast toen ik dit werk in mei 2022  in H401 tentoongesteld zag.  Merapi had aan de achterkant van alle vitrines (met labels) een standaard houten liniaal met een gaatje gemonteerd. Het is mijn nieuwe ophangsysteem – zei ze.

Een geniaal idee ! – dacht ik. Niet alleen qua functie, maar ook vanwege de syboliek. Ik moest direct denken aan fractal. In het geval van Merapi’s werk gaat het niet om fractal zelf maar om de rol van de meetlat bij het ontstaan van dit begrip.

Het heeft zijn oorsprong in een belangrijk experiment, namelijk de meting van de westkust van Engeland en van de landgrens tussen Portugal en Spanje, verricht en nagelaten door de Engelse meteoroloog Lewis Fry Richardson (1881-1953).

Dit experiment heeft de wiskundige Bonoit B. Mandelbrot later gebruikt om de mate van kronkeling van een kust- en een grenslijn te bepalen; hij noemde dit de ‘fractal dimensie’.

Meten is weten – zeggen wij. Mandelbrot merkte echter op dat de uitslag niet eenduidig was. Het resultaat van de metingen hangt sterk af van de schaal van de gebruikte landkaart. Hoe gedetailleerder de kaart, des te langer de kustlijn! Hetzelfde verschijnsel doet zich voor wanneer men een gedetailleerde kaart neemt en bij elke meting telkens een kleinere meet-eenheid gebruikt. Hoe kleiner de meetlat, hoe hoger het getal, des te langer de grenslijn. Uiteindelijk leidt deze redenering tot de conclusie dat de westkust van Engeland oneindig lang is!

Dit is niet irreëel als je je voorstelt dat een landmeter telkens met een steeds kleinere duimstok de kust afloopt.

Door haar vitrines met de vernipperde autokaarten van Europa te voorzien van dit “ophangsysteem”,

stelt Merapi heel actuele en essentiële vragen aan de orde.

Wat zijn wij te weten gekomen door het meten?

Wat betekent dit nu voor ons begrip van de grens in het algemeen en de grenzen tussen de landen in het bijzonder?

Is soms onze denkwereld in het ‘meetsysteem’ blijven hangen dat ons misschien in de verte dichterbij het wezen van een grens brengt, maar nooit het antwoord verschaft?

Magdalena Jesionek MAGDALENA JESIONEK

Literatuur

Hans Lauwerier “Fractals. Meetkundige figuren in eindeloze herhaling.”

CONTESTED DESIRES: CONSTRUCTIVE DIALOGUES ARTISTS OPEN CALL

HISTORY, WE NEED TO TALK! 

Join the conversation: exploring colonial heritage through contemporary art 

Embark on a transformative journey with Contested Desires: Constructive Dialogues (CDCD).  

Are you a visual artist based in The Netherlands passionate about unravelling the layers of our shared colonial past and its impact on contemporary culture? This is your chance to be part of a groundbreaking transnational initiative funded by the Creative Europe programme of the European Union.  

About CDCD 

Step into a realm of exploration where artists, cultural organisations, and communities come together to delve into the complexities of our colonial legacy. Contested Desires: Constructive Dialogues is a pioneering transnational project, consisting of 19 global partners, aiming to unravel the influence of our shared colonial past on cultural identities today. From Italy to Ghana, Tunisia to the UK, CDCD discovers the connections between our past and present, fostering dialogue and understanding across diverse perspectives. 

 

 

What we offer 

  • An immersive experience with international residencies, exhibitions, and knowledge exchange workshops to take place between September 2024 and November 2026 (artists are expected to participate fully in the program). 
  • Artist fee, as specified in the call (plus covered travel, accommodations, per diems, and production materials). 

Eligibility 

This Open Call is to select two visual artists based in The Netherlands based on: 

  • Quality of artistic practice.
  • Quality of response to the questions in the application form. 
  • Experience in participatory and socially engaged practice. 
  • Experience in collaboration with other artists and across sectors.
  • Demonstrable interest in the role of contemporary arts in heritage contexts, with reference to the themes of the programme

If you are an artist based outside The Netherlands, have a look here at the general open call and discover the other nine international residencies.

Equity, diversity and equality  

  • We seek to ensure that no present or potential artist or project participant is treated less favourably than another on grounds of race, colour, nationality, ethnic origin, gender, gender identity, marital or civil partnership status, disability, sexual orientation, religious or political beliefs, age, social class or offending background. 
  • While our ambition is to shape an open, accessible project, we also acknowledge that the nature of this project involves extended periods of travel, which may present barriers to participation. 
  • If you have access requirements to enable you to participate in the CDCD programme you will be able to identify this in the application form. If you need access support to be able to make your application, please contact m.manunta@h401.org

Sustainable art vision 

The CDCD project prioritizes environmental sustainability through self-regulatory ethical guidelines, alignment with global standards like the Sustainability Development Goals, and promoting eco-philosophy for artistic inspiration. The project monitors and assesses adherence to ethical guidelines while enhancing awareness of the interconnectedness between art and sustainability.  

Artforms 

Participatory and socially engaged visual arts practices. Selected artists will be encouraged to create ephemeral and mobile works that are environmentally conscious and that can be adapted to be site-specific to each place. 

How to apply: 

Visit the link below to access the complete call, as well as the application form, to take your first step toward joining CDCD’s transformative journey: 

Application Call available here.

Application Deadline: May 7, 2024 

 

Embrace this opportunity to challenge the narratives of the past and co-create more inclusive futures through contemporary art. We’re committed to fostering equity, diversity, and equality in every aspect of our project.  

For updates and other opportunities, follow us on Instagram and Facebook.

#ContestedDesires #ArtForChange #DecolonizeCulture #Europe #Colonialism #Community #CapacityBuilding #Dialogue 

Read now: Productive Archiving

Do not miss out on Valiz’s latest collaboration with H401:  Productive Archiving – Artistic Strategies, Future Memories, and Fluid Identities.

Edited by Ernst van Alphen, Productive Archiving discusses a variety of problems of archival organizations. It mainly focuses on three issues that are usually overlooked: first, the question of inclusion in or exclusion from the archive; second, the loss of individuality in the archive, the danger of homogenization; and third, that archiving may become a form of pigeonholing, boxing specific identities into a confined space.

It is especially this problem of homogenization and classification that is challenged by artistic archival practices. They use or make archives in order to explore alternative historical narratives and knowledge. […]

Instead of retelling the same heroic story, the archives should be challenged to tell other and different stories. And this can best be done by artists. Artistic research is employed as a method to discover something that is not intended and that is not already known, although hidden in this archival space.

van Alphen, Productive Archiving, pp. 25-26

Lars Ebert dives deeper into artistic research as a means for productive archiving with the chapter The Archival Space of Herengracht 401, pp. 146-164, within the section Archiving Memories and Histories.

By elaborating on H401 as an archive and on three artist residencies carried out in the space, Ebert offers three, among several, ways to actively engage with the (intangible) heritage of the foundation as well as Gisèle’s legacy. The artists presented – Amie Dicke, Ronit Porat and Renée Turner, focused respectively on a unique aspect of the archive: its decay, its ability to construct new meaning and conclusively its potential to engage in a conversation with the visitor.

As an institution we have learned to value the ongoing conversation with artists to negotiate the balance between the responsibility for the historical material and the mission to produce something new and meaningful for today. It is a field of tension that makes the archival space a productive space.

Ebert, Productive Archiving, p. 164

 

Editor: Ernst van Alphen

Contributors: Ernst van Alphen, Aleida Assmann, Annet Dekker, Lars Ebert, Sebastián Díaz Morales, Monika Huber, William Kentridge, Pablo Lerma, Inge Meijer, Santu Mofokeng, Merapi Obermayer, Walid Raad, Ana Paula Saab, Drew Sawyer, Carla Subrizi, Marjan Teeuwen, Daria Tuminas, Jeffrey Wallen

Design: Lotte Lara Schröder

Info: Spring 2023 | Valiz with support from Prins Bernhard Cultuurfonds | pb | c. 24 x 17 cm (h x w) | 272 pp. | English | ISBN 978-94-93246-16-4





Between Life and Death. Stories of Rescue during the Holocaust

On October 16th and 17th, H401 attended the ENRS Conference “What’s the point of history… if we never learn?” that explored the concepts of Dialogue, Remembrance and Solidarity in Europe.


On October 17th, ENRS inaugurated at the Faculty of Theology of the Humboldt University (Berlin) the German stop-over of the travelling exhibition “Between Life and Death. Stories of Rescue during the Holocaust”. This project sheds light on stories of rescue in twelve European countries: Croatia, Denmark, France, Germany, Hungary, Italy, Lithuania, the Netherlands, Poland, Romania, Slovakia and Ukraine. Through each panel, the exhibition amplifies the voices of the rescuers and survivors by focusing on their personal experiences of the hiding years and framing them in their larger historical and social context.

The exhibition first opened in Brussels at the headquarters of the European Commission on January 24, 2018 on the eve of the International Holocaust Remembrance Day. The following European city hosting the exhibition was Amsterdam, at the H401 from June 14th until August 15th 2018. 
H401 contributed to “Between Life and Death” by presenting Claus Bock’s story. He was one of the two young Jews, together with Buri Wongtschowski, that Gisèle aided in hiding in one of the apartments in the Herengracht 401 throughout the Nazi occupation of The Netherlands.

ENRS Director Rafaɫ Rogulski and Prof. Jan Rydel, member of the ENRS Steering Committee attended the opening at H401, at that time known as Castrum Peregrini.

“Between life and Death. Stories of Rescue during the Holocaust” is a joint project of ENRS (PL), POLIN Museum of the History of Polish Jews (PL), and Silent Heroes Memorial Center (GR).

Link to the ENRS exhibition catalogue here, Claus’ story can be found at page 13.

Opening Exhibition at H401 on June 14th 2018 – photo credit  Bas Losekoot.

 

Opening Exhibition in Berlin on October 17th 2023 – photo credit Dominik Tryba.

 

Out now: European Academy of Participation 

The European Academy of Participation – Benchmarks, reflections and challenging practice on the interface between academia and the creative sector, by Lars Ebert and Joachim Umlauf, is now available.

This publication sketches the connections between participation, arts, identity and contested heritage that have been the focus of a series of EU-funded projects by Goethe-Institut and Stichting H401 in the last 15 years. Collaborators and partners in these projects reflect on the definition, potential and limitations of participation in the arts.  

The authors of this piece and editors of this book have in all these years built a unique trust and way of collaboration around which an ecosystem has emerged that made this collaboration possible. An ecosystem of individuals and organisations that have contributed to the projects, have grown in them and have stayed for a shorter while or longer. […] They have fostered diverse communities and have empowered artists and creative practitioners to grow and impact on the communities in which they work.

Ebert and Umlauf, Preface, pp. 7-10

The European Academy of Participation consists then of contributions ranging from policy recommendations to academic articles and friendly conversations: a resourceful collection of food for thought on inclusive and accessible participation in the creative and heritage sector. 

Publishing house: AVINUS – dem Verlag für Medien und interkulturelle Kommunikation, ISBN 978-3-86938-174-9, 152 S.

Lars Ebert also devotes a chapter to the Heritage Contact Zone (HCZ), a project in the frame of the European Year for Cultural Heritage funded by the EU subsidy Creative Europe. Throughout the project (2018- 2020), H401 together with the HCZ consortium, explored heritage spaces as space for creative dialogue as well as constructive conflict. 

“The HCZ project provides a set of methods and tools, online and analogue, that will help develop a space of European heritage for multiple voices, a shared heritage-making space for all citizens, which enables sharing various heritages with one another and working through the conflict that comes with it […] HCZ aims at dealing with conflict as something cathartic and creative.“

Ebert, Heritage Contact Zone pp. 139-144

The findings and outcomes of the project are collected in the HCZ Toolkit, a guide designed to assist practitioners working with complex heritage. The Toolkit is available online here: https://heritagecontactzone.eu/toolkit/

The project partners were: Goethe-Institut (GR), H401 (NL), Human Platform (HU), Etz Hayyim Synagogue (GR), Timisoara European Capital of Culture Association (RO), Culture Action Europe (BE) and The European University Institute (IT).

European Cultural Citizenship

The VENICE MANIFESTO for European Cultural Citizenship was announced during the EUROPEAN HERITAGE SUMMIT 2023 in VENICE. Still open to external feedback. Please send any suggestions to Ted Oakes, Policy Coordinator, by Friday 6 October to@europanostra.org]

From the Manifesto:

[…] Referring to Europe’s uniqueness does not mean that Europe is an island, entangled in its borders: its achievements have repeatedly included a spirit of openness and solidarity, which have contributed to its attractiveness for generations of people coming from across the world. This dimension must be remembered at this particular moment in time, when Europe and its increasingly pluralistic society is facing a long series of crises: environmental, political and social; all of which underline the necessity to unite these diverse generations of people together, through education, culture and heritage. Further to this, Europe must leverage its culture and heritage to build partnerships with other countries and continents across the globe. The authors and signatories of this Manifesto wish to emphasise that in calling for a European Cultural Citizenship, this does not replace the national, regional or local expressions of our identities. Rather, it reinforces them by recognising and embracing a European dimension to which they are complementary, evidencing firmly and clearly the multi-layered identities that all citizens in Europe enjoy. […]

Read the full text of the Venice Manifesto 2023 here: The Venice Manifesto: “For a European Cultural Citizenship” – Europa Nostra.

Secretary-general Europa Nostra Sneška Quaedvlieg-Mihailović on the occasion of the 60th anniversary of Europa Nostra at The Human Safety Net in Venice stressing the invaluable role of Culture and Cultural Heritage, both tangible and intangible, for the future of our continent.

#CulturalDealEU

Stichting H401 is a member of Culture Action Europe (CAE), Brussels.

CAE is the major European network of cultural networks, organisations, artists, activists, academics and policymakers. CAE is the first port of call for informed opinion and debate about arts and cultural policy in the EU. As the only intersectoral network, it brings together all practices in culture, from the performing arts to literature, the visual arts, design and cross-arts initiatives, to community centres and activist groups. CAE believes in the value and values of culture and its contribution to the development of sustainable and inclusive societies.

Since 2020 CAE together with their partners European Cultural Foundation and Europa Nostra launched the campaign #CulturalDealEU.

The Cultural Deal for Europe is a call to the European Union to place culture at the heart of its political vision and ambition for years to come. The proposed Cultural Deal for Europe can help to mainstream culture in its key policies. “Endorsed by thousands of organisations, individuals and 110 European cultural networks, our initiative became instrumental for setting the symbolic goal of 2% for culture in national recovery and resilience plans (post-Covid) and, in turn, mobilising and securing an estimated 12 billion EUR for culture across the European Union.”

#CulturalDealEU is looking ahead to 2024 and beyond, they formulated a renewed call on the European Union, EU Member States, and wider Europe to, read here: Cultural Deal.

Team #CulturalDealEU: Secretary-general Europa Nostra Sneška Quaedvlieg-Mihailović, director European Cultural Foundation André Wilkes, Secretary-general Culture Action Europe Lars Ebert.

Gouden Lucifer Ceremony 2021 / 2022

Stichting H401 had the honour to receive the Gouden Lucifer (Golden Match) on the occasion of the Feest der Onafhankelijken at H401 on September 5th 2021.  An initiative organised by the artists: Merapi Obermayer, Bülent Evren and Henk Wijnen. This yearly event brings together a rare collection of independent thinkers of artists, writes, scholars, enthusiasts, and laymen from Amsterdam and far beyond. They come together to celebrate food & drinks & food for thought. Performances, speeches and/or happenings take place. During a year, H401 was the holder of this so called non-award. This little gem in all its simplicity of appearance, at the same time represents all the complexity of society we live in today.   

On October 16th 2022 at Tettero, the award has been passed on to: Jacqueline Lamme and Roland Berning. They will be guarding ‘independent thinking’ for a year. Congratulations, and may the force be with them.

H401 receiving the Gouden Lucifer in 2021
Gouden Lucifer Ceremony 2022