Ja Ja Ja Nee Nee Nee: Recent Episodes
Radio for the Arts
Contemporary art podcast with artist contributions and highlights from the archives of our online art radio platform. Hosted by Arif Kornweitz & Radna Rumping. Get in touch with us through info@jajajaneeneenee.com Our jingle is by Josh da Costa.
With Edition IX Bodies and Technologies (2022-2023) If I Can’t Dance tackles the complex and plural entanglements between bodies and technologies. This Radio Emma show stages a conversation between the If I Can’t Dance artistic team – Frédérique Bergholtz, Anik Fournier, Sara Giannini and Megan Hoetger – and research fellow Devika Chotoe who talk about their own entry points into this edition’s field of inquiry.
Readings, Music and conversations about other languages. With Rijksakademie residents Salim Bayri, Lungiswa Gqunta, Özgür Atlagan, and Bert Scholten.
Hosted by Arif Kornweitz and Radna Rumping. Recorded on 31st of October 2019 at the Reading Room of the Rijksakademie van beeldende kunsten in Amsterdam.
“The hell started at about half past one on the morning of... the fourteenth of June” - (Nyelele & Drake, 1985) A broadcast of the sound piece on Gaborone, 1985 (2021, 3:38 min) marks the start of the residency of artist Kim Karabo Makin, who lives in Botswana and is one of four artists selected for a Ja Ja Ja Nee Nee Nee radio residency during 2022. "on Gaborone, 1985 considers the June 14 raid on Gaborone by the South African Defence Force (SADF) as a traumatic turning point for Botswana’s creative development – resulting in the demise of Medu Art Ensemble overnight. Positioned centrally to my Master of Fine Art body of work – the doors of culture shall be opened (2021), on Gaborone, 1985 notably includes a Radio Botswana jingle interspliced with segments from the South African Broadcasting Corporation’s (SABC) Truth and Reconciliation Commission (TRC) Special Report, as well as then-President of Botswana Masire’s reaction to the raid, and South African 80s group Future’s song, Party Weekend (1985). The featured mix unpacks an intertextual reimagining of Gaborone in 1985, where it is significantly described as the year that Botswana’s capital ‘lost its innocence’. This work importantly refocuses my initial disappointment in Botswana’s limited national archive of Medu into a generative starting point – considering the manner in which the archive lives on today. In addition, I consider how at the time, my grandmother’s radio cabinet may have brought news of the SADF raids on Botswana to my family, and the extent to which the story resounds unsuspectingly in contemporaneity, through the local lives that received this impact. on Gaborone, 1985 also introduces the cyclical nature that underscores the exhibition – by considering the extent to which the sound mix may constitute a socio-cultural symbol, and thus a tool in activating spaces as sites of memory. By looping on Gaborone, 1985 four times, I aim to recognise and commemorate June 14 as one of four raids by the SADF in Botswana in 1985. By broadcasting on Gaborone, 1985 via Ja Ja Ja Nee Nee Nee’s platform, I aim to engage an international audience through aural storytelling, where I am particularly interested in reflecting on Medu’s suppressed narrative in Botswana as a contemporary Motswana artist myself. In addition, the hour-long broadcast (including moments of silence) is intended to provide a space to reflect on themes of transnationality, with respect to both Botswana and the Netherlands’ historical entanglements with South Africa. In this way, I hope to extend a conversation on Medu’s lasting memory across borders, and further delve into archival research on culture as a weapon or tool for change. Furthermore, with this broadcast I am interested in providing some analysis of the post-traumas of Botswana in the anti-Apartheid struggle, with respect to the Netherlands. In so doing, the broadcast of on Gaborone, 1985 via Ja Ja Ja Nee Nee Nee will inaugurate the beginning of my residency. Going forward, I hope to reflect on the historic context of Botswana’s capital Gaborone – my hometown and the home of Medu, with a specific look at the ‘Culture and Resistance Conference’ that took place in 1982. By comparison, I will draw connections between Gaborone and Amsterdam, as the Dutch capital and self-declared anti-apartheid city, with respect to the ‘Culture in Another South Africa’ (CASA) conference that took place in Amsterdam, in 1987. In partnership with Ja Ja Ja Nee Nee Nee, through this residency I aim to provide a space that reflects on themes of transnationality, with respect to both Botswana and the Netherlands’ respective positions in the Anti-Apartheid struggle." - Kim Karabo Makin
“I’ve probably inherited my mother’s exhaustion and my grandmother’s exhaustion...There’s such a thing as intergenerational debt – and it’s not just economic, it’s also energetic.” - Navild Acosta interviewed in Schon Magazine
How can we think about notions of human ‘productivity’, sleep as a space for resistance, and the enduring power structures that permeate current ideas around work and rest? Bringing together Flavia Dzodan, Quinsy Gario, and Joy Mariama Smith, we’ll engage in conversations around the politicised and racialised structure of sleep inequality and rest, the impacts of 24/7 productivity, the productive body, and activism as it intersects with these systems.
How can we talk about these questions in light of our present moment of enforced ‘rest’ for some and enforced work for others. How can we respond to the structures, fragilities, and failures of systems that are being made visible, now more than ever? Our guests speak from the perspective of their individual (and collective) practices about the intersections of activism, productivity, and rest.
In these conversations we want to highlight the relations, and metaphorical weight, between being ‘asleep’ and being ‘woke’, between being a political activist or doing nothing—questioning whether these labels can be inverted and whether there is also a power of resistance in ‘doing nothing’, in disengaging as a form of engagement. Is there a parallel to be drawn to the current situation of enforced quarantine? This idea of collective rest—and because of that collectively arriving in a safe state—is not as ‘collective’ as it seems. What are the anxieties and fears, over finances, jobs, and health, that emerge from the shut down of certain parts of our societies? And can we reach a collective state of solidarity when ‘rest’ means something different for each of us and the economy is demanding again? Should we be more ‘active’ than other times? The lockdown and the period of opening up again might be a good moment in time to rethink patterns and behaviour and to invent new habits and routines. The collective experience of the crisis is largely felt in isolation, but within its fractures new meanings of collective solidarity can emerge.
This conversation is hosted by Framer Framed, and is the second radio show in a set of two events initiated by Petra Heck and Margarita Osipian that explore the act of resting and the politicization of sleep, specifically as a weapon of resistance against "systems of oppression that have controlled and subjugated people of colour, women, and queer and gender-dissident communities"*. We are building on, and are inspired and educated by, the years of work that has been done on these topics by Navild Acosta and Fannie Sosa in their Black Power Naps project. Questioning the politics behind who gets to rest, the exhaustion of activism and its necessity, and whether the act of doing nothing can be a productive power by itself.
- the words of Agnish Ray in their interview with Navild Acosta and Fannie Sosa.
DONATE. In solidarity and support you may donate via PayPal to Color Block: Pandemic Edition 2020. Funds will be used to support costs for BIPOC to engage in Color Block’s physical and online programming for a much needed retreat for healing, rest, and care. Donate here.
Part I: Listening to...the power of doing nothing, took place on Saturday May 30th 2020, 16 - 19.30h.
This event is made possible through the generous support of the Stimuleringsfonds.
Bio's
A native Philadelphian currently based in Amsterdam, NL, Joy Mariama Smith’s work primarily addresses the conundrum of projected identities in various contexts. A sub-theme, or ongoing question in their work is: What is the interplay between the body and its physical environment? Rooted in socially engaged art practice, they are a performance/installation/movement artist, activist, facilitator, curator, and architectural designer. They have a strong improvisational practice spanning 20 years. When they choose to teach, they actively try to uphold inclusive spaces.
Quinsy Gario is a visual and performance artist from the Curaçao and St. Maarten, islands in the Caribbean that share continued Dutch occupation. His work focuses on decolonial remembering and institutional disruption. He is most known for the performance art work Zwarte Piet Is Racisme. He is a Royal Academy of Art The Hague Master of Artistic Research graduate, a 2017/2018 BAK Fellow, a board member of De Appel and a recurring participant of the Black Europe Body Politics conference series. His recent writings were collected in the book, ‘Roet in het Eten’ (‘Spanner in the Works’).
Flavia Dzodan is a writer, media analyst and cultural critic based in Amsterdam. She is a senior researcher and lecturer at the Sandberg Instituut. Her research is focused on the politics of Artificial Intelligence and algorithms at the intersections of colonialism, race and gender. In her research Flavia examines the ways that technology is created and deployed to reproduce historical patterns of social control. Her current research on “Beauty and the Machine” attempts to understand how cultural analytics would operate vis a vis semiotic codes, particularly in regards to teaching machines to identify highly subjective and culturally dependent ontologies. She is the editor of the blog “This Political Woman”, where she has written about the rise of the alt-right, Big Data, networks, algorithms and community surveillance. She has been published at Dissent Magazine, The Guardian and The Washington Post among others.
A 3 part sound collage & audio-visual broadcast for Ja Ja Ja Nee Nee Nee
Duration: 25 minutes
Production by Thabiso Keaikitse
This broadcast marks the end of the residency of artist Kim Karabo Makin, who lives in Botswana and is one of four artists selected for a Ja Ja Ja Nee Nee Nee radio residency during 2022.
Artist statement by Kim Karabo Makin:
An intertextual audio essay which endeavours to explore the transnational space that Medu Art Ensemble has occupied historically ‘in another South Africa’, with a focus on the route that connects Gaborone, Botswana and Amsterdam, the Netherlands (via Chicago). Satellite Activism notably traces the life and legacy of Medu Art Ensemble in contemporaneity, with a particular look at themes that connect the Culture and Resistance Festival and Symposium, 5 – 7 July 1982 in Gaborone, to the Culture in Another South Africa Conference, December 1987 in Amsterdam. Additionally, with particular reference to the Art Institute of Chicago publication The People Shall Govern! Medu Art Ensemble and the Anti-Apartheid Poster 1979-1985, the project extends off of my exploration of ‘the living archive’ – a live sounding of the archive as expressed through lived experiences and shared storytelling, where my practice considers the DJ as an archivist.
*Use headphones for optimum listening experience.
I do not, nor do I claim to own some of the selected clips, sound/video archives. These are all available online by their respective owners for free and fair use. This collage is for research and educational purposes only. Please contact for full reference list.
Part 1: out of site, out of mind
2022
duration: 6 mins
The voice of former poet laureate of South Africa (2018) and founding member of Medu Art Ensemble, Mongane Wally Serote opens with an analogy that explains how committed cultural workers collectively formed Medu’s ethos around 1978. Picture Hugh Masekela and Jonas Gwangwa playing their trumpet and trombone respectively ‘underground’ – what might it sound like as you walked underground towards the jazz hall, and eventually ‘opened the doors of culture’. What does art in the underground look and sound like? And in what ways might this have left an imprint on the site associated with Medu’s powerful red, black and off-white poster, Unity is Power. 2935, Pudulogo Crescent, Gaborone – across from the University of Botswana (established in 1982 as the first institution of higher education in Botswana), and adjacent to the Alliance Française (a cultural centre and hub for language, arts and culture locally, notably also engaging in cinema festivals and symposiums that include both European and local film). I am interested in unpacking and sounding this specific site as holding a particular cultural significance internationally, for it’s ties to Medu, despite not having been monumentalised in our local memory. In addition, out of site, out of mind is particularly concerned with exploring methods of recording the spatial and temporal dimensions of this site, with respect to my positionality in engaging this history, as well as themes surrounding exile.
Part 2: open culture
2022
duration: 13 mins
Open culture closely documents and contrasts the Culture and Resistance Festival and Symposium, 5 – 7 July 1982, in Gaborone, with the Culture in Another South Africa Conference, December 1987, in Amsterdam. In fact, my research highlighted that there was another conference that took place in Amsterdam from 13 – 18 December 1982, entitled The Cultural Voice of Resistance, South African and Dutch Artists against Apartheid. These three conferences, festivals and/or symposiums were all engaged in the Anti-Apartheid struggle with a particular focus on cultural boycott, where the 1982 occasions closely engaged members of Medu Art Ensemble. Leading figure of Medu’s visual arts and graphic design, Thami Mnyele (whom was based in Gaborone up until he was murdered in the June 14 South African Defence Force Raid on Gaborone in 1985) is remembered as having left a lasting impression on Dutch artists, politicians and people interested in cultural exchange. His visit to Amsterdam in 1982 is said to have so inspired the running and continuation of the Thami Mnyele Foundation in Amsterdam to this day. Imagining 1982 – 1987, with respect to Gaborone and Amsterdam as sites of international activism, I am particularly interested in remembering and tracing these events approximately 2 and a half years either side of the June 14 Raid. Where 1985 is described as the year that Gaborone ‘lost its innocence’, I am concerned with investigating this moment in time as a traumatic turning point in Botswana’s Art History and subsequent creative development. Furthermore, I am interested in unpacking what connects Gaborone and Amsterdam amongst other notable cities around the world (like Chicago), as satellites, historically entangled with Apartheid South Africa and the Anti-Apartheid Movement.
“Medu’s Culture and Resistance Festival and Symposium in Gaborone, Botswana, in 1982 and the Culture in Another South Africa Conference, held in Amsterdam in 1987, are but two examples of the heightened degree of organisation that cultural activism assumed.”
(Gule in Byrd & Mings, 2020: 47)
Part 3: intergenerationally
2022
duration: 6 mins
Refocusing on the potential for the moment that marks a part of the life and afterlife of Medu from 1982 – 1987, this piece considers the extent to which this fragment of the archive lives on in us today. By drawing connections between fathers Mzwakhe Mbuli – also affectionately known as ‘The People’s Poet’ and Keorapetse Kgositsile – former poet laureate of South Africa (2006), and their respective sons, Robot Boii and Earl Sweatshirt. Intergenerationally is particularly concerned with considering sampling as a tool for curating the living archive. In so doing, I extend a conversation that presents Amapiano as well as popular music and/or culture, as methods for connecting audiences and passing on knowledge across generations.
‘’ is an extended conversation hosted by Kim Karabo Makin along with artist friends and colleagues – Ann Gollifer and Thero Makepe, at the home of the Art Residency Centre in Gaborone, Botswana.
The conversation unpacks Makin’s final outcome of her radio residency with Ja Ja Ja Nee Nee Nee, a sound piece entitled Satellite Activism. In so doing, Makin engages a conversation with Gollifer in considering her practice as an archivist, as well as in unpacking the potential for an exploration of the archive as ‘living’, with specific regard to the strong presence of oral traditions in the context of Botswana. In addition, Makin engages Makepe in reflecting on the role of the DJ as an archivist of sorts, in curating the living archive. Furthermore, with a look at the cultural significance of radio in the local soundscape, the three collectively present the sort of intergenerational passing on of knowledge that Satellite Activism embraces.
In considering the life and legacy of Medu Art Ensemble in and out of Botswana, the conversation also reflects on particular moments included in Satellite Activism. Through shared storytelling, Makin, Gollifer and Makepe also unpack themes surrounding dislocation, exile, community-building, and the potential for Makin’s radio art practice going forward.
This broadcast, alongside "Satellite Activism", streamed last November 13th, marks the end of the residency of artist Kim Karabo Makin, who lives in Botswana and is one of four artists selected for a Ja Ja Ja Nee Nee Nee radio residency during 2022.
Barrel of the soul’s many inhabitants slurp alongside the stillness which slithers past the cries, and deep beyond the breath is that sensorial forgetfulness held by these walls.
Recommended listening method: headphones, and a comfortable seat.
Mikatsiu’s research during the Ja Ja Ja Nee Nee Nee residency focused on remote sensing, consideration of the different communication abilities of dancing spiders, questioning what is needed to sense the detached regions of one’s own body, and tuning enunciation towards melodies as they unravel stories into perceivable frequencies.
In the audio essay 'Iconographies of Belonging' artist Endi Tupja maps out several coordinates and journeys that others misread, questioned or were simply not interested in. Albania, the country where Tupja was born and grew up, is described as a place of belonging and longing that is constantly questioned: ‘where are you from? Go back to your East’. New fractured identities are born as a result.
Tupja crafts a rhythm of urgency, yet within a steady pace of clear forwardness and determination. Her voice will not stop until the threads have been revealed in all their entanglements.The artist navigates between factual descriptions and a guttural flow, where anger is allowed to flourish in new forms of tenderness. Anger about the impossibility to carve a space of discernment from outside projections, about white feminism that doesn’t live up to its good intentions, and anger about the tragic life of activist Adelina Sejdini, who was kidnapped from Albania and forced into prostitution in Italy. This audio piece contains moments of violence (rape, suicide) that can be triggering, while it simultaneously provides a space for liberation, transformation and endearment.
'Iconographies of Belonging' is commissioned by Ja Ja Ja Nee Nee Nee, as part of our series 'Near Histories', curated by Radna Rumping. For 'Near Histories' artists are invited to develop an audio piece related to a history that is 'near', whether it’s in literal close proximity, or rather a history that is still unfolding. Here the essayistic format offers a (partly) subjective take on an event or situation that isn't fully historicized.
A transcript of the audio essay with footnotes can be downloaded here.
Credits:
Concept, text and voice: Endi Tupja
Sound scape: Dirar Kalash
Soundtrack:
Featuring track by composer and musician Dirar Kalash
Popular women's Dance from Martanesh at the Folklore Concert of Popular Albanian Music 1988, Gjirokastër, performers: T. Koxheri and L. Gjoni
Song: “Me Lot Bukën Tuj Gatue” (Making Bread in Tears) performed by Drita Suҫi at the Folklore Concert of Popular Albanian Music 1988, Gjirokastër
Recording of a Call to Prayer in a mosque, soundsnap.com
“A collision with the past” is a year-long attempt at approaching the history of the Kalenderpanden, a former squat located in the East of Amsterdam. The squat was in operation between 1996 and 2000, and, after its eviction, it was turned into luxury lofts.
The piece uses archive material that the squatters from that time made available: a documented timeline of both the squatting and the eviction. It also tries to touch upon how the practice of squatting changed in the past decades, since the 2010 squatting ban, and weaves in and out of how one can still get access to the Kalenderpanden building, two decades after.
While putting together the piece, between November 2020 and November 2021, there has been a resurgence of squatting as a housing practice in Amsterdam, as well as nationwide. So with this in mind, the piece links the Kalenderpanden to the newly squatted Hotel Mokum as well as a building on Spuistraat 59 and one on Ringdijk 8, both squatted by the Anarcha Feminist Group Amsterdam.
As if to say, “Wet of geen wet, kraken gaat door” (“Law or no law, squatting continues.”)
This audio essay is commissioned by Ja Ja Ja Nee Nee Nee, as part of our series 'Near Histories', curated by Radna Rumping. For 'Near Histories' artists are invited to develop an audio piece related to a history that is 'near', whether it's in literal close proximity, or rather a history that is still unfolding. Here the essayistic format offers a (partly) subjective take on an event or situation that isn't fully historicized.
A .pdf script of the piece is available here.
Colophon:
Inspired by Rachel Sellem and Elki Boerdam, creators of the "InputParty".
Additional Voices:
Ana-Maria Guşu,
Jörn Nettingsmeier,
Jelle Baars.
Recording and Sound design:
Jörn Nettingsmeier.
Music by:
De 4 Touze Matroze;
DJ Lulu;
Kuijs Reinder Kakes Makelaardij Hypotheken Verzekeringen
and
Euronext Amsterdam, formerly The Amsterdam Stock Exchange.
With material from:
entrepotdok.squat.net;
funda.nl/koop/amsterdam;
Youtube user "vriijepiijptv";
a recent housing survey of the Onderzoek, Informatie en Statistiek department of the City of Amsterdam;
and news outlets:
itsgoingdown.org;
Vice.com/NL;
and Trouw.
The literary figure of the ekphrasis is a verbal description of a visual work of art. It has been part of literature and art discourse for centuries, and it has been crucial to the exhibition I saw it by ear, initiated by Muro Sur in Rozenstraat in Amsterdam.
Discussions of ekphrasis always seem to produce fertile associations and repercussions when thinking about the crossed boundaries between art and literature, imagination, representation and the unfolding and reproducibility of certain knowledge.
With Ilse van Rijn, Martín La Roche and Arif Kornweitz, this episode explores the history of the figure of ekphrasis, the traditional difference between poetry and painting (tradition of paragone), and how more recent poets and writers approach this categorical separation, to shed light on the exhibition I saw it by ear.
Find a list of references mentioned in the show, and for further reading on our website www.jajajaneeneenee.com
Also, this episodes contains two pieces of the vinyl record Écfrasis. These pieces stem from 2018, when Muro Sur invited 29 Chilean artists to contribute a rhetorical description of piece of art they would like to exhibit in a show in Amsterdam. The resulting descriptions are collected on a double vinyl, created with Martín La Roche and Giancarlo Pazzanese.
This show was recorded and produced in collaboration with If I Can't Dance, I Don't Want To Be Part Of Your Revolution. It is part of the Radio Emma series by If I Can't Dance, and unpacks key terms from their research into Bodies and Technologies (the field of inquiry during 2022-23) with invited local guests from various disciplines and practices.
You're welcome to join the broadcast live at If I Can't Dance in Amsterdam, Westerdok 606-608. Please arrive no later than 12.30, there's a free meal included.
Taking pedagogical practices as a crucial site where bodies and technologies converge, Devika Chotoe has invited three guests to share their insight on what it means to queer pedagogy and vice versa: how to feature queerness as topic of pedagogy. Together they will touch upon the different initiatives Sorab Roustayar, Feargal Agard and Elioa Steffen initiated to foster queer teaching and knowledge creation, ranging from archival and performative practises to organising kink workshops and play parties.
‘‘...we are queering the word ‘‘education’’, queering who is doing the teaching and who is doing the learning, queering ‘‘school’’ as we build ecoversities out of our homes and on the land, queering our bodies as we relate differently with ourselves and heal from the too small boxes they tried to fit us in, queering society as we build collective knowledges together outside of colonial institutions’’ (Kate Morales).
With:
Guests: Sorab Roustayar, activist and founder of Fite Qlub; Feargal Agard, archivist IHLIA LGBTI Heritage and founder of Humans of Film Festival; Elioa Steffen, creative consultant, writer and performer.
Host: Devika Chotoe, performance artist, writer and community builder, and currently research fellow at If I Can’t Dance.
Amara Higuera is an artist and writer from Los Angeles (the ancestral and unceded land of the Gabrielino-Tongva and Chumash peoples). She is exploring histories of precarity, resilience, and (re)generation through lens based inquiry and sound. She is currently writing poetry and making sound works as a practice of personal exorcism and artistic research.
This show consists of 3 episodes:
- Ch. 1 embodied search(ing)
- Ch. 2 embodied remembering
- Ch. 3 Lungs Don't Fail Me Now
Amara Higuera, our artist in residency during the winter of 2023 presents the outcome of this period.
In the words of the artist, “Estoy Llamando, Regresando Tu Llamada” is a three piece audio collection searching for what needs to be said.
"If you're going to say it, can you say it here?
Are your lungs strong and ready?
Or more so, can you say it safely?
I recall the suffocation you mentioned.
Of that place where you can’t look at that, you can’t say that.
But, let’s say that I did?"
English translations:
Title: “Estoy Llamando, Regresando Tu Llamada” / “I’m Calling, Returning Your Call”
Ch. 1
(No translations)
Ch. 2
(First Voice)
"Hi, my daughter, why do you want me to tell you that story? No, it’s that, it’s very sad, no you don’t understand… (sigh)."
(Second Voice - Original Song)
"I hear him asking for me,
in my house, the house
I never returned to
His little hands, his hug,
his path, in my house, my house,
that I never returned to
"Without reason they took you from me,
from the house, my house,
that I never
returned to"
Ch. 3
"Talking with you, talking with me" (overlapped phrases in Spanish)
Credit to Eartha Kitt, who said it. And also to my family, who remember even when we forget.
From the Archives: Muro Sur Revisitado. Originally aired September 30th, 2022.
Artists who have participated in Muro Sur, in its different stages, meet to talk in the kitchen of the loft where the project originated in Santiago de Chile. Together with Rodrigo Ríos Zunino from Radio Tsonami and next to the wall that gave birth to this initiative, they talk about their memories.
Topics such as their past experiences with Muro Sur, the recording of their voices in ekphrasis, what has happened to them in recent times and towards which directions could artistic practice go in continuous contexts of crisis, appear in the conversation. The possibility of organizing around a politics of affection and friendship, as well as the contingency of Chile, the result of the new constitution’s referendum and the emotional landscape of this process are also themes that recur in this talk. Somehow, the typical organic conversations that characterize this project in its intimacy are shared publicly in this radio program.
This episode counts with the participation of Francisca García, Mario Navarro, Mónica Bengoa, Paz Errázuriz, Joaquín Cociña and Francisca Sánchez.
The Muro Sur podcast is produced in collaboration with radio Tsonami and radio Ja Ja Ja Ja Nee Nee Nee Nee Nee and is supported by LAPS of the Rietveld Academy and Sandberg Instituut.
Channelling. Be a vehicle. A path. A hole. Go. Let go. Make way for something to happen. Something, the other. Be others. Guide. Make room and draw a line. Mark a step. Divide. Contain. Carry from one place to another. Create. A plan, a landscape, a spectrum, a call.
'Channelling' connects the medium of audio with other realms. Logistics, infrastructure, landscape transformation. As a practice, channelling takes many forms: tapping into otherwise unheard voices, an invocation, a form of transmission. In this online collective exhibition, three artists explore channelling through sound.
Curated by Andrea González, with works by Laia Estruch, Anahit, and Ainhoa Hernández Escudero.
Ainhoa Hernández Escudero's contribution to 'Channelling' is titled RAAAW. It is the first iteration of the project She Has A Message For You, which researches the phenomenon of spiritism that in the 19th century was an enabler for women and other excluded voices to be heard: a medium to speak through otherness, claiming a space of visibility in the intimacy of private spaces. Ainhoa describes her project as follows:
In RAAAW, I channel voices, stories, thoughts and presences from my room. The audio clips that you will hear are the result of seven different sèances I recorded at dawn during the month of October 2023. It is a practice I’ve kept up for many years, but this is the first time I have recorded it and shared it with others. The recordings are made with a binaural microphone, with the intention for you to to listen with headphones and your eyes closed.
Remember, the message is in your way of reading it.
Note 1: Some recordings are spoken in Spanish, while others are in English. If you would like a translation, please contact me at the address below. Algunas partes están en español y otras en inglés. Si necesitas traducción, escríbeme a la dirección a continuación.
Note 2: I want to continue channelling and recording in different spaces. If you have a suggestion for a place you want me to channel, please write to me:
List of recordings in RAAAW:
- raaaw (18 sec.)
- cantar_def (6 min. 4 sec.)
- miau_def (1 min. 19 sec.)
- corre_def (5 min. 18 sec.)
- ear massage_def (45 sec.)
- ya pasó_def (3 min. 46 sec.)
- She has a message for you (1 min. 22 sec.)
From the Archives - originally recorded July 6, 2020.
15:00 06-07-2020
Writers Sabrine Ingabire and Munganyende Hélène Christelle speak to Rita Ouédraogo, about the [back then] soon-to-be-launched publication Being Imposed Upon - a timeless love letter and manual by and for black women, a collection of reflections on being a woman and being black in Belgium.
Being Imposed Upon is a project initiated by Vesna Faassen en Lukas Verdijk. It unites non-fiction essays, literary reflections, poetry, activist and academic texts around black women's search for freedom. This book is a tribute to their elderly, heroes and sisters
Read more about the book at Publieke Acties. Please note that the publication is in Dutch and French.
Recorded in the exhibition WELKOM by Guy Woueté in de Brakke Grond. This show has been made possible with support from the Vermeylenfonds.
Channelling. Be a vehicle. A path. A hole. Go. Let go. Make way for something to happen. Something, the other. Be others. Guide. Make room and draw a line. Mark a step. Divide. Contain. Carry from one place to another. Create. A plan, a landscape, a spectrum, a call.
'Channelling' connects the medium of audio with other realms. Logistics, infrastructure, landscape transformation. As a practice, channelling takes many forms: tapping into otherwise unheard voices, an invocation, a form of transmission. In this online collective exhibition, three artists explore channelling through sound.
Curated by Andrea González, with works by Laia Estruch, Anahit, and Ainhoa Hernández Escudero.
'Confirmers of the Present', 8min 41s
'RX_004_Tr1_Stereo to master' 5min 3s
In these sound works, Anahit engages with two conflicting notions of channelling. The first refers to a contemporary need for hyper-presence in our synchronous society: an ever-flowing stream of sensory experiences generated by relentless synchronisations, where one sensation swiftly displaces another, leaving scant opportunity for any to fully blossom. The other recalls the primordial experience of being in time: attunement to natural cycles, the eternal flows of water channels, the ominous tolling of melting.
To capture this last aspect, Anahit made field recordings in Argentine Patagonia – suspended over crevasses, capturing micro-rivers of runoff from the Perito Moreno glacier. The resulting piece ‘Confirmers of the Present’ prompts the listener to immerse themselves fully in a single, uninterrupted soundscape. Against these beckoning drips, the channelling impulse of the synchronous society calls: the first part of the piece is an algorithmic composition, made up of data sonifications from the logs of continuous software updates on Anahit’s phone. These channels flow into one another: the inexorable ebb of water against the deluge of global data generated in our hyperconnected society.
Channelling. Be a vehicle. A path. A hole. Go. Let go. Make way for something to happen. Something, the other. Be others. Guide. Make room and draw a line. Mark a step. Divide. Contain. Carry from one place to another. Create. A plan, a landscape, a spectrum, a call.
'Channelling' connects the medium of audio with other realms. Logistics, infrastructure, landscape transformation. As a practice, channelling takes many forms: tapping into otherwise unheard voices, an invocation, a form of transmission. In this online collective exhibition, three artists explore channelling through sound.
Curated by Andrea González, with works by Laia Estruch, Anahit, and Ainhoa Hernández Escudero.
Channelling 1: Laia Estruch
31 October 19.00
jajajaneeneenee.com
Reflexiones Impro Plato, 22 julio, 2022, 20 min 43s
Reflexiones Copicat, 22 julio, 2022, 10 min 32s
The voice and the body are the elements that structure Laia Estruch's research, an artistic practice situated between sculpture and performance. Laia Estruch conceives of the voice as a sculptural medium, a vehicle with the power to synthesise and render audible. Her projects delve into the emotional potential of a capella and the untheatrical body, exploring the performative nature of language, sound recording, and its oral archive.
Laia presents two pieces in which her voice voices: multiplies again into other voices through matter.
In "Reflexiones Impro Plato," July 22, 2022, Laia reverberates her voice with a cymbal. Crouched beneath the cymbal, the improvised voice bounces and resonates. In "Reflexiones Copicat," July 22, 2022, she manipulates the recording while she records, creating loops and feedback.
Alec Mateo, our artist in residency during the spring of 2023 presents a 30 min audio piece as the outcome of this period.
"Part of a perpetual negotiation with narrative, the 3rd or maybe 4th installment in the Gotchu performance series, this time recorded.
For have thoughts on movement in transit to London. Anthony speaks to Abuelito. You watch lectures and cartoons, reminiscing. Your favorite part is in the middle. The story is ultimately about the stupor of sobriety, discipline, and adventure. These ideas are more complete in their text. One is the refuse of the other. Collage! ;)"
For more information and shows visit our website:
https://jajajaneeneenee.com/
For this year's Valentines day, we "literally" bring back from the dead the fourth episode of Elif Satanaya Özbay's and Andrea González Garrán's beloved "Vampires Can't Have Anything".
In this episode "To Love Forever", they discuss the theme of Love, The Eternal Love, the Vampire Love refering to Film, Literature and other mediums of cultural . They will cover some iconic relationships, triangles, and lustful obsessions of and for their beloved creature of the dark, for half an hour.
For all the other Episodes of the latest season, check out website www.jajajaneeneenee.com
“What does it take to create a culture where it is allowed to fall into the bottomless abyss of heartache?”, asks Raoni Muzho Saleh. This poetic contemplation is the literary equivalent of Raoni’s ceremonial gatherings, which he calls “Mourning Socialities”. Throughout this episode, Raoni contemplates on the power and significance of the moan as an expression of mourning and how this sound connects with the profound states of loss and suffering. Interrogating himself, the listener and the societies of which they are a part, Raoni explores these questions in monologue and through moaning. By braiding the moan into the fabric of his speech, Raoni invites listeners to come together in a polyphonic groan to experience the commonality of grief. This bemoaning contemplation calls for a renewed relationship with the body and embodiment, where grief and loss are not only approached mentally and rationally but also experienced and expressed physically.
A transcript of the text is available here.
Raoni Muzho Saleh is a choreographer and performer based in Amsterdam. Born in Afghanistan and raised in Pakistan, his thinking and work is shaped by fugitivity as a radical movement. By dancing through the gender spectrum, Raoni has developed a unique movement practice that emphasizes “becoming other”, a continuous state of incompleteness. Through the use of materials such as textile, dough, voice, and text, Raoni invites a serious kind of play into space where all can become immersed in otherworldly stories.
This broadcast is the second of a three-part series on embodied listening and non-verbal vocal expression, curated by Radna Rumping. Other episodes: 'Laraaji - Guided Laughter Release' (out now) and ‘Laraaji, Raoni Muzho Saleh & Radna Rumping in conversation’ (3 October). All episodes will stay available through our archive.
For more information vGathering in a Polyphonic MOOOOAAAAAAANN Safeguards Solidarity Listen. Listen again. ahhhhhhhh... Take a moment to bring awareness to your breath. sighhhhhh What is present in your breathing at this moment? Listen again. ohhhhhh... Is there someone close to you? Listen to the space between you. Can you imagine what lies hidden within your comrade? hmmmm... Listen. As a choreographer and a dancer, I have been taken and persuaded by the moan in recent years. The moan as a choreographer, the moan as an ancestor, as a mentor, and the moan as an old friend. siiiiiiggghhhh This research has taken the form of both performances and collective lamenting events that I call "Mourning Sociality." For today I will share with you a bemoaning speech that questions how we can create a culture that guarantees the commonality of loss and grieving processes. I invite you to let this bemoaning speech sink into you with a gentle sigh. hhmmmmm What is our current cultural relationship with mourning, and how sustainable is this cultural behaviour? ohhhhhhh... Why is it normal to keep death hidden and confined to cemeteries and obituaries? For whom and for what is it beneficial to deal with mourning in this way? ahh ahh ahh aiiiiii The Western culture dominated by an imposed rationality, being the opposite of emotionality, prevents us from being present with death, with that age-old feeling of loss and mourning. aahhhhh-ahhhhhhhhhh We live in a culture where emotional disconnectedness and apathy have become normalised. Not too long ago, in this continent, the family of the deceased would hang white sheets from the windows to indicate that they had lost a loved one. The white sheets stood in solidarity with the family's mourning. In this way the grieving family signalled their pain to the outside world. The white sheets, which veiled the eyes of the house for a while, allowed for an osmosis of heartache. oooooooooeeeeeeeuuuhhhhhuhuuu These fluttering sheets acted as a porous barrier, freely moving the sorrow of the people from inside to outside, from private to public, and from silence to emotional expression. Therefore, the family’s suffering was not banished to the private domain; instead, through the signalling white sheets, the family’s loss also became part of the community's sentiment. aahhhh-ahh-aaaaarrrrrrrgggggghhhhhh The sheets cried out to the community: "Can you see and hear the suffering of these people? How does their throbbing pain resonate with the ache lying within your own heart? Come, come and carry your own despair and weave it into the tragedy of these people!" AAAAAAARRRRGGGHHHHHHHHH Why are these rituals no longer common in our modern lives? What is stopping us from surrendering ourselves in our grief, in our most vulnerable state, to the people we belong to and desiring the same from others? ssiiiigghhhhhh How come collective 1 mourning ceremonies have fallen into oblivion? uuhhhhhmmmmm Again, I wonder: for whom, or for what, is it beneficial to confine mourning to the private domain, behind closed doors? ooehuhhhuuuhooehhhh This disease called modernisation, driven by capitalist greed, is based on a specialised and highly developed form of bureaucracy. The promises of these structures include safety and an easy access to everything our hearts desire. Are these structures and the promises they make distractions from the creaking and groaning of our own corporeality and that of others? oooooooo-aaawwhuhuhhhaaahuuuuwwuuuuuuu Because, why rely on the support of the community when the grieving process can be efficiently and independently handled, for example, through a funeral insurance? Why should we be present with the “destabilising” state of mourning when we can quickly bury the dead and get back to our daily lives? There's no point in losing ourselves in the chaos and turbulence of mourning, immersing ourselves in its disastrous poetic experience, when order and clarity are at hand, right? hhuuwaa-huhhuwaa-huhhuwaahuhuwaauuhuhuwa-huhuhuu-huhuhh A world where grieving processes are orderly and clear promises resilience against grief. In a worldview ruled by rationality it is terrifying to be vulnerable and to loose yourself. But how much heartache do we have to sacrifice to become disassociated from our own vulnerability? aaahhhhhhhh siiiiiiiggghhhhh And once again, whom or what does this disassociation of affect service? Why do we steadfastly hold onto a culture that locks death away in hidden spaces, away from where it can be acknowledged by life? aaauuuwwwaaarrrrghhhhhh-aaauuuuuwwwwww The idea that death and 1 the deceased speak to us through the objects they loved, through a flame that suddenly ignites, through the sparkle in a gaze, through a fracture in a mirror. This idea rattles the order and clarity that capitalist modern life demands. The idea that death is intertwined with our everyday actions and experiences brings death closer, demanding that we face our own and another’s woundedness, embrace it, just as the fluttering white curtains used to embrace the house's windows. Martin Prechtel, a shaman whose teachings I follow loyally, speaks and writes passionately about the relationship between mourning and praising. The Tz'utujil people in Guatamala, whom he served as a shaman for over twenty-five years, practice the idea that mourning and praising are two limbs of the same body, thus inseparably connected. They mean that when you mourn someone, you are actually praising that person's life. And when you praise someone full heartedly, while praising, you are struck by the impermanence of life and, therefore, simultaneously mourning life. Martin says that mourning is, in fact, a form of gratitude for being alive and experiencing grief. 2 OUUUUUUU-OOOOOAAAUWWWAAAAAAAWWWWW Martin advocates 1 Reference to the poem “In Order to Talk With the Dead” by Jorge Teilliers 2 Youtube link to Martin Prechtel’s talk “Grief & Praise”: https://www.youtube.com/watch? v=UUwewfPPSbE 2 letting go of the idea that grief is an unpleasant state that needs to be resolved. Instead, he encourages us to let the heart's wailing be heard in togetherness, in an ensemble of misfits in love with life. What if there is indeed no solution to the age-old heartache called grief? What if the only solution is to feel the sorrow and be held by others in that state of being? ooooooeeehwwwaaauuuhhyyyyhhyyyyaa... What does it take to create a culture where it is allowed to fall into the bottomless abyss of heartache? What cosmological ideas and forms of relationships do we need to develop that allow us to surrender to that falling? In his poem "Details," Ghayath Almadhoun writes: "It was the most beautiful war of my life, full of metaphors and poetic images. I remember how I sweated adrenaline and pissed black smoke, how I ate my own flesh and drank cries. Death leaned his skinny body on the ruins that his poem had caused and wiped his knife clean on my salt." siiiighhhh... The Syrian-born Palestinian poet Almadhoun calls upon us to feel the taste of death and loss to safeguard our physicality. aaah-aarrrrrggghhhhhhhh Which persons around us, and I include other creatures and objects in the category of persons, carry the aftertaste of our grief within them? And how can we embrace that aftertaste without rationalising it? How can we love these persons so that they may add flavour to our lives? Let us bid farewell to a Cartesian worldview, where reason and rationality define our humanness. Instead, let us honour that it is through our corporeality, our fleshiness, our cries that our stories are interwoven with one another. aahhhhhh-aiiiiaaaaarrrrggghhhh-aahhhhuuuuhuuhuuuu… What kind of relationship with the body and embodiment is required to be present with death, to taste the aftertaste of loss? ggrooooaaannn... With what language do we prepare ourselves for the bodily experience of loss? How can we transform our Cartesian thinking and being into a language and a doing that ensures the palpability of loss? In this exploration of the language of grief, I let myself be guided by the moan. The moan which choreographs a dance of whining voices and which serves as my companion and mentor. The moan as an ancestor, connecting my body and voice with all other beings who also give song to the shivering in their hearts and share it with their loved ones. The moan is accompanied by sorrow, lamentation, sighs, and release, but it is also be prompted towards privatisation and/or silence. Away from where a larger group of bodies, bones, veins, hearts, flesh, and skins can be moved to feeling and to acting. aiaiaiaiaiaiaiaiaiaiaiiaiaiaiaiaiaiaiaiaiaiaiaiaiaiiaii-aaaaaiiiihhhhh Because the moan is ugly and makes you uncomfortable. The moan is beautiful and brings you to tears. The moan is heavy and tugs at your heart with a pain that is not personal but relatable. The moan can be as simple as a baby softly sighing. hhhmmmm... The moan is dreadful and hysterical. The moan whines. The moan is angry. And the moan is incredibly bold. The moan provides emotional and spiritual release. The moan, as a lament, is akin to a nomadic traveler coming from afar, carried by the howling wind and 3 broken swaying hearts. In its mutability, the moan is a force not to be underestimated. Because it is in the nature of the moan to connect through expression, the moan refuses to be suppressed. Through its expression, the moan can move one to disobedience and resistance to abuse of power. And through its dynamic essence, the moan connects the grieving singer with the listener(s), weaving a web of affective sympathy wherever it goes. auuuwwhhhuuuhuuuuuuuhuuuuuuuuuuuuhuhu... The moan is utilised all over the world by professional mourners to bewail that sweet, old, inevitable pain that life brings. oeeehhhh Therefore, the moan also encompasses the feeling of being connected to the gifts of life. Ultimately, the moan transcends the human. The moan is the sonic fabric that connects us with the rest of the animals. The moan offers us, as humans, access to the non-human world, enriching our experience of life. Our mentors in moaning are indeed the whales, the wolves, the owls, the howling wind— in other words, the living world we’re submerged. oooooeehhhhhh-aaaaarrrhhhhhhhhhhhh-ahhhh-ahhh-ahh So what must be stirred within us, within each individual, to be able to listen to the sighing, whimpering, and breathing brethren that we already are? What do we need to rid ourselves from, as individuals and communities, in order to recognise the whining, moaning and lamenting in our own breathing and in that of another? siiiiiiiiggghhhhhhhh Through the moan, one expresses heartache and heart's joy. By wailing in togetherness, one weaves a sonic fabric of collective heartache and heart's joy. A community that breathes and lives in solidarity with one another is polyrhythmic and can be both harmonious and dissonant. What caring sensuality lies behind a multitude coming together to moan? Mmm... the word sensuality. ahhhhhh-yeaahh-ahhhh-ahhhhhhh What is sensual about offering support when someone is in grief? What is desirable about solidarity? When we gather in mourning, in that endless polyphonic groan, our collective sound cuts through the idea that commonality is impossible. UUUUAAAWWWHHHHAAAAAAARRRRRGHHHHHH Through our polyphonic lamentation, we test the possibilities of solidarity and integrity. When we allow our suffering to resonate through the continuous practice of moaning, we demand to be heard in our experience, in our pain, in our doubt, in our joy, in our shuddering, in our ecstasy, in our existence. AAAAAAARRRRGHHHH-AHHH-AWWWWWAHHH-AHHH What opens up, what reveals itself when we pay attention to that endless lamenting within ourselves and in others? From which wounds, from which sensed realities does that sighing sound emanate? From which sensuality does our body scream? hmmmmm….. What possibilities for the future do we study in our own whimpering and that of others? And what histories do we restore by gathering in collective mourning processes? aauuwww-aaaaauuuuuwwhhhh-uhuhu-uaaawwwwuuhhuhuhuuu 4 When we shift our precious grief from the public to the private, from expression to hiding, we deprive ourselves of the opportunity to be carried by a sense of intimacy. When we no longer recognise the beauty in the lament of the other, we deprive ourselves of the chance to live in connectedness. Therefore, coming together to moan, to sigh, to scream, and to lament in song is a political act. oooooeeeehoooooohoooooooeeeeehhooooeeee Within each repetition and performance of both the personal and collective heartache, we practice a different world. By expressing the multi-rhythmic wail, we rehearse what is necessary to intimately embrace an utopian longing for solidarity. uuuaaaarrraaaahhhhhhhh-uuuuhhhhaaaahhh-uhuhuuu By being present, by expressing the polyphonic sonic fabric that intertwines us with and within each other we repeat, rehearse, reverb the realisation of integrity. hhhhhuu-huuuuu-hhhm-hmmm 5isit our website: www.jajajaneeneenee.com
‘Laughter is the shortest distance between two people’, says Laraaji. In this Guided Laughter Release, he invites you to experiment with different kinds of therapeutic laughter: laughter to soften the heart, or to massage the belly. The episode takes the form of a session, in which Laraaji guides the listener through different exercises, accompanied by zither music. He advises practicing every morning for about 15 minutes. Such regular laughter, Laraaji shows, helps release stagnant and stale air, boosts the immune system and guides you to finding a connection to your own meditative inner state.
Laraaji is a musician, mystic and laughter-meditation practitioner based in New York City, who plays piano, zither and mbira. His musical career includes over 50 releases: from the legendary Ambient 3: Day of Radiance (1980, a collaboration with Brian Eno) to the more recent Sun Piano and Moon Piano albums (2020, All Saints Records). Laraaji is the creator and facilitator of Laughter Meditation Workshops, sharing the ‘seriously fun’ practice of heavy laughter as a transformative and ultimately healing tool for everyone.
This broadcast is the first of a three-part series on embodied listening and non-verbal vocal expression, curated by Radna Rumping. The last of this three part series will be released on Wednesday, Februrary 7 2024.
Where to find inner stillness? How to perform not for human beings, but for space? Where do the sounds of celebration and grief intersect? These are some of the topics explored in this episode, where Laraaji, a musician and laughter practitioner, and Raoni Muzho Saleh, a choreographer and performer, discuss ‘the sonic experience of life’ with moderator Radna Rumping. The result is a lively intergenerational conversation on collective sounding as a healing practice.
Laraaji is a musician, mystic and laughter-meditation practitioner based in New York City, who plays piano, zither and mbira. His musical career includes over 50 releases: from the legendary Ambient 3: Day of Radiance (1980, a collaboration with Brian Eno) to the more recent Sun Piano and Moon Piano albums (2020, All Saints Records). Laraaji is the creator and facilitator of Laughter Meditation Workshops, sharing the ‘seriously fun’ practice of heavy laughter as a transformative and ultimately healing tool for everyone.
Raoni Muzho Saleh is a choreographer and performer based in Amsterdam. Born in Afghanistan and raised in Pakistan, his thinking and work is shaped by fugitivity as a radical movement. By dancing through the gender spectrum, Raoni has developed a unique movement practice that emphasizes “becoming other”, a continuous state of incompleteness. Through the use of materials such as textile, dough, voice, and text, Raoni invites a serious kind of play into space where all can become immersed in otherworldly stories.
This broadcast is the first of a three-part series on embodied listening and non-verbal vocal expression, curated by Radna Rumping. Upcoming Episodes 'Laraaji - Guided Laughter Release' (4 February) and ‘Raoni Muzho Saleh - Gathering in a Polyphonic MOOOOAAAAAAANN Safeguards Solidarity’ (8 February). All episodes stay available through our archive.
Andrea and Arif talk to Birna Björnsdóttir, a visual artist interested in the uses of technology in our daily lives and the disparity between embodied experiences and factual knowledge. Birna has co-founded various artist-run platforms such as the residency and collective Laumulistasamsteypan, GSM exhibition space in frequencies and at7 project space.
STUDIO is the Ja Ja Ja Nee Nee Nee podcast, recorded at different art spaces and cultural institutions. This episode was recorded at fanfare in Amsterdam in 2022. Hosted by Arif Kornweitz and Andrea González.
Recording and Production: Monty Mouw
Post-production: Julius van IJperen
Video documentation: Kyulim Kim
Ja Ja Ja Nee Nee Nee is a radio space for curatorial and artistic practices. We commission sound and performance pieces, related to the research strands we set for our annual programme. We also host and produce radio shows and podcasts, by and with artists and designers. Our mobile studio has been at academies, biennials and museums. In 2022, we started an artist-in-residency programme. https://jajajaneeneenee.com
A curatorial program set in a home furnishings and clothing store in Viseu, Portugal: Bruno Zhu talks to us about A Maior.
Find the address and archive of A Maior here: https://amaiorviseu.tumblr.com
This is the second of three STUDIO episodes in which we talk to artists that run curatorial platforms and artist initiatives about their projects, and the role they play in their own work.
Bruno Zhu (b. 1991, Portugal) is an artist living and working between Amsterdam and Viseu. Ranging from fashion design, publishing and scenography Zhu’s practice is preoccupied with fiction and its manifestations. His work was recently shown at What Pipeline in Detroit (MI), Cordova in Barcelona and HALLE FÜR KUNST Steiermark in Graz. Zhu is a member of A Maior, a curatorial program set in a home furnishings and clothing store in Viseu, Portugal.
http://www.brunozhu.com/home/
STUDIO is the Ja Ja Ja Nee Nee Nee podcast, recorded at different art spaces and cultural institutions. This episode was recorded at fanfare in Amsterdam in 2022.
Hosted by Arif Kornweitz and Andrea Gonzalez
Recording and Production: Monty Mouw
Post-production: Julius van IJperen
Video documentation: Kyulim Kim
Ja Ja Ja Nee Nee Nee is a radio space for curatorial and artistic practices.
We commission sound and performance pieces, related to the research strands we set for our annual programme. We also host and produce radio shows and podcasts, by and with artists and designers. Our mobile studio has been at academies, biennials and museums. In 2022, we started an artist-in-residency programme.
https://jajajaneeneenee.com
Andrea and Arif talk to Groaming, a roaming gallery in a backpack.
This is the first of three STUDIO episodes in which we talk to artists that run curatorial platforms and artist initiatives about their projects, and the role they play in their own work.
Groaming Gallery, a roaming gallery in a backpack. Anyone* can submit to showing their work in the gallery. It is carried around roughly between 75% to 90% of the time inside and outside the EU (if we’re lucky). Each resident has a month. With a couple of week showings throughout the year. PV locations are posted on the day and you can dm for location.
Visit and submit to Groaming Gallery on Instagram:@groamingbaggallery
STUDIO is the Ja Ja Ja Nee Nee Nee podcast, recorded at different art spaces and cultural institutions. This episode was recorded at fanfare in Amsterdam in 2022.
Hosted by Arif Kornweitz and Andrea Gonzalez
Recording and Production: Monty Mouw
Post-production: Julius van IJperen
Video documentation: Kyulim Kim
Ja Ja Ja Nee Nee Nee is a radio space for curatorial and artistic practices.
We commission sound and performance pieces, related to the research strands we set for our annual programme. We also host and produce radio shows and podcasts, by and with artists and designers. Our mobile studio has been at academies, biennials and museums. In 2022, we started an artist-in-residency programme.
We visit Milena Bonilla’s studio to hear about Rosa Luxemburg and granite wrapped in amaranth, the flower that resists. Milena’s research-based practice is currently invested in epistemological colonialism and the different ways it affects organisms, language and social structures. Her studio is in Amsterdam and her website is milenabonilla.info.
“Why do we think that the past is dead? Because it’s very convenient to have it as a relic, to bring nostalgia, to bring ideological biases. It’s a sickness.” (Milena Bonilla)
“One of the most mistreated words that i have seen lately in the world is solidarity. Solidarity comes from structures of understanding of how the world operates. It’s not charity - that is what I see spread all around here. And I talk about this with a lot of rage.” (Milena Bonilla)
See an amaranth-wrapped stone on Milena’s website here.
Photograpies of Milena's show at Galeria Municipal do Porto are available at here and at e-flux.
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Hosted by Arif Kornweitz and Andrea González.
Edit and post-production by Julius van Ijperen.
Ja Ja Ja Nee Nee Nee is an online radio platform for contemporary art. Our website is jajajaneeneeneee.com.
We visit Martín’s studio to hear about the Chilean protests and constrictions of the imagination. We also listen to Fernanda's voice message about the real and the possible, titled ‘Qualia’. And Martín tells us how 'Muro Sur', once a space in Santiago in the 90s, lives on.
Martín La Roche is an artist and director of the Musée Légitime, a museum inside a hat.
Fernanda Aránguiz M. is an artist and publisher, investigating language inbetween the real and the possible.
Martín was on Ja Ja Ja Nee Nee Nee in 2017 for Native Foreigners, a show about Ulises Carrión recorded at De Appel/Documenta Athens/Jumex. Fernanda joined us for a radio show about Publishing as Critical Practice in 2019, recorded at Printing Plant Art Book Fair.
Hosted by Arif Kornweitz and Radna Rumping.
Edited by Arif with excerpts from El violador eras tú and El Baile de Los Que Sobran.
Teresa Cos sent a voice message: The Monarch. Arif and Radna think about reflecting forward. Teresa has a plan b.
The show "The power of doing nothing" is available on jajaaneeneenee.com. So is the report on care riders by Fabian Reichle and at7.
Gloria E. Anzaldúa's book is titled 'Luz en lo Oscuro'.
Teresa Cos is an artist exploring the processes of repetition underlying history, society and human psychology. Her work encompasses film, sound and video installation, visual scoring, experimental music composition and performance. Her website is at teresacos.com.
Steven Warwick sent a voice message. Sadaf spoke to Ivan Cheng.
Arif and Radna reside under Silvia Federici’s arm in Kunsthal Gent, where Radna feels like Marvin Gaye.
Steven Warwick is a British artist, musician and writer residing in Berlin. His latest album MOI was just released on PAN. Steven documents his artistic practice here, writes for artforum and maintains a successful instagram.
The conversation of Sadaf and Ivan Cheng is part of our collaboration with Sonic Acts. Sadaf will perform at Sonic Acts Academy which takes place from 21-23 February in Amsterdam.
Sadaf H Nava (Sadaf) is an Iranian-born, New York City-based composer and visual artist whose multidisciplinary interventions include sound, film, painting, performance and text. This is her website is and you can find her on instagram.
Ivan Cheng also edited his conversation with Sadaf. He is a performer, clarinettist, curator and writer who initiates project space bologna.cc in Amsterdam. Ivan’s work is documented on his website and he is on instagram.
Read more about Sonic Acts, Sadaf and Ivan Cheng on our website.
Yoojin Lee & Mark von Schlegell.
Sloths wear pyjamas in Yoojin Lee’s voice message.
Critique warps into science fiction in Mark von Schlegell’s reading, recorded at The Well.
Radna and Arif compliment each other on their Halloween outfits.
Find Yoojin at nijooy.com and Mark at schlegell.com.
Minne Kerstens and Leo Arnold presented this episode of The Well, a radio show at De Ateliers. Several episodes of The Well are available on our website.
Holly Childs sent a voice message. Ode de Kort's exhibition 'UU TWOO' at de Brakke Grond was curated by Sara Giannini.
Watch a video by Holly Childs on her website or find her on instagram.
Listen to the full recording of UU TWOO in our archive and read more abou the show over at de Brakke Grond.
Our show about mother tongues at the Rijksakademie is available in our archive.
Our podcast is hosted by Arif Kornweitz & Radna Rumping. Our jingle is by Josh da Costa.
Katherine MacBride about composer Pauline Oliveros. Richard John Jones about filmmaker Barbara Hammer and with a reading of John Giorno's "It Doesn't Get Better".
References:
Read about filmmaker Barbara Hammer, composer Pauline Oliveros and poet John Giorno
Listen to our Minimal Music Festival shows
Visit Auto Italia South East in London and Tender Center in Rotterdam
Contributors:
Katherine MacBride
Richard John Jones
Ceel Mogami de Haas tells a tale. echo+seashell sent a voice message. Arif & Radna watch the snow.
Henna Hyvärinen and Susan Kooi are echo+seashell. K.i beyoncé are hard to find.
Ceel Mogami de Haas recently completed a residency at Rijksakademie van beeldende kunsten, where his contribution was recorded.
More Rijksakademie radio shows are up on our website.
Hosted by Arif Kornweitz & Radna Rumping. Our jingle is by Josh da Costa.
Becket MWN sent a list of interchangeable M.A.s &
Immy Mali read letters to her younger self at the Rijksakademie van beeldende kunsten.
Find Becket MWN here and Immaculate Anderu Mali here.
Six Rijksakademie radio shows full of readings, conversations and music are available on our website.
This podcast is hosted by Arif Kornweitz & Radna Rumping. With a jingle by Josh da Costa.
Voice Message from Jacob Dwyer &
A contribution by Abraham Araujo titled "A Letter To God, Even If God Won't Read The Letter: Major Tectonic Shifts Going On" &
Bonus material by Daan Gielis
Jacob Dwyer's great video work Donovan Garcia is available here.
Daan Gielis is online. Abraham Araujo's Mixcloud is over here.
Voice message from Sara Giannini &
Monira Al Qadiri reading at the Rijksakademie in 2016.
Scrolling through life, hosted by Arif Kornweitz & Radna Rumping. Our jingle is by Josh da Costa.
See a pearlescent oil drilling head on Monira Al Qadiri's website.
Unfold and Heterotropics are projects by Sara Giannini.
More about our Rijksakademie broadcasts on jajajaneeneenee.com
Love in the age of online dating with Tamar Shafrir & Füsun Türetken
Voice Message from Mehraneh Atashi & Geo Wyeth
Hosted by Arif Kornweitz & Radna Rumping. Our jingle is by Josh da Costa.
Modern Love was recorded at Fiber Festival.
Find Geo Wyeth here
Find Mehraneh Atashi here
Tamar Shafrir's website is here and Füsun Türetken's is here.
Voice message from Monica Tormell
What I Wanted to Tell You by Radical Cut-Up
The second episode in a series about contact. Hosted by Arif Kornweitz & Radna Rumping. Our jingle is by Josh da Costa.
Find Monica Tormell at monicatormell.nl
Find Radical Cut-Up at radicalcutup.com
Voice message from Ivan Cheng
Radio Software Piracy with Luis Rodil Fernández
The first episode in a series about contact. Hosted by Arif Kornweitz & Radna Rumping. Our jingle is by Josh da Costa.
Find Ivan Cheng at www.bologna.cc
Find Luis Rodil Fernández at www.derfunke.net
Read more about the exhibition Gym of Obsolete Technology over here at W139.
The intro where Arif & Radna listen to Joseph Beuys singing a protest song.
More episodes coming this week.
Ja Ja Ja Nee Nee Nee is hosted by Arif Kornweitz & Radna Rumping. Our jingle is by Josh da Costa.