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Wendelien from Oldenborgh. Prologue: Squat / Anti-Squat (production still), 2016. Van Oldenborgh is represented by Wilfried Lentz Rotterdam
Wendelien from Oldenborgh. Prologue: Squat / Anti-Squat (production still), 2016. Van Oldenborgh is represented by Wilfried Lentz Rotterdam


57th International Art Exhibition. La Biennale di Venezia
curator: Lucy Cotter
commissioned by the Mondriaan Fund
13 May - 26 November 2017

Minister Bussemaker of Education, Culture and Science opened the exhibition on 10 May Cinema Olanda, the Dutch entry for the 57e Venice Biennale, which will be on show until November 26. Cinema Olanda is a collaboration between visual artist Wendelien van Oldenborgh (1962) and curator Lucy Cotter (1973). In the Rietveld Pavilion they show Van Oldenborgh's architectural installation in which three works are integrated, including her new film Cinema Olanda.

The title film Cinema Olanda (2017) was shot in the iconic Pendrecht district in Rotterdam, designed by urban planner Lotte Stam-Beese. Individuals speak in the film who play different voices from Dutch post-war society. Reference is made, among other things, to the Netherlands Antillean political activist Otto Huiswoud, a key figure worldwide in the field of racial, class and anti-imperialist issues, and the Indo-rock music of the fifties that is related to immigration from Indonesia after the independence. Cinema Olanda is a new step in Van Oldenborgh's oeuvre because the film consists of only one take.

Footnotes to Cinema Olanda (2017) is a series of so-called lenticular prints (images with 3D effect), which Van Oldenborgh uses as an experimental form of 'film'. The prints show production moments that are not in the film and thus give a look behind the scenes. Visitors are invited to participate in a dynamic viewing experience through their own movements.

The third cinematic work is Prologue: Squat / Anti-Squat (2016), a film in two parts that mirror each other. The film focuses on the Tripolis building in Amsterdam by architect Aldo van Eyck and focuses on the Surinamese-Antillean squatters' movement of the 1970s. The actions of the time in the Bijlmer are associated with two recent squatters. The film brings together people from different generations and with backgrounds in activism and architecture. Their conversations provide an insight into the changing views on solidarity in Dutch society. The film was shown at the deed gallery in Berlin early this year and was well received there.

Van Oldenborgh has been representing socially relevant themes from Dutch history for a long time in her work, for which she has received wide recognition. With live (public) and non-scripted film recordings, she creates a dialogue in her work between ideologically charged locations and people with a personal or professional relationship to a certain theme. The Dutch pavilion was opened on May 10 by Minister Bussemaker of OCW.

Cinema Olanda: Platform at Witte de With Center for Contemporary Art
17 June - 20 August 2017

Cinema Olanda: Platform at Witte de With is an extension of the presentation in Venice. Activists, artists, filmmakers and researchers have been invited to put together a series of live events and present their practice in a flexible arrangement with film installations by Van Oldenborgh. Cinema Olanda: Platform includes live recordings of Quinsy Gario's talk show Soot in The Food, a program of film screenings and lectures compiled by the Amsterdam School for Cultural Analysis (ASCA), and an archive project for The Black Archives, carried out by New Urban Collective, with further contributions from Tessa Boerman (filmmaker) and Wayne Modest (Head of the Research Center for Material Culture, National Museum of World Cultures). Read more.


Cinema Olanda is organized in partnership with the Amsterdam School for Cultural Analysis (ASCA) of the UvA, Academy of Arts (KNAW), Wilfried Lentz Rotterdam and Nuova Icona, Venice and is supported by CBK Rotterdam, BPD and the municipality of Rotterdam.
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Publication date: 10 / 05 / 2017

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Forest polder fox, Florentijn Hofman, Schiedamseweg, 2020. Photo: Otto Snoek

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