sticky numbers - new series by Antonio Jose Guzman

How to Embed a Shout: A New Generation of Black Artists Contends with Abstraction

by Seph Rodney

A new wave of black abstract artists are exploring ways to push the language of abstraction and still retaining their cultural specificity. And they’re not doing it alone. 

These artists’ outlooks have to do with when they were born and the circumstances of their coming of age. Edwards says, “A lot of these [artists] growing up in the 80s, coming to consciousness around racial violence that really appeared on a national scale for the first time around the Rodney King moment.” In 1991, King was beaten savagely by four Los Angeles police officers, and a bystander’s film of the incident was seen worldwide. Then, the subsequent trial and acquittal of the police officers involved sparked an uprising and riots that lasted for five days and caused the death of more than 50 people.

That systematic physical and legally sanctioned brutalization of that black man’s body was understood as a symbolic devaluation of him. The King beating, along with a multitude of similar subsequent incidents circulate the idea that officers of the state (and by extension the state itself) won’t allow themselves to be accountable for the bodies of black people. The burgeoning movement, particularly evident in urban areas, to film police officers carrying out their duties, especially when confronting people of color has much to do with holding police to account and taking responsibility for each other. Mercer confirms that this generation “want to be responsible.” She continues, “I know young artists who say to me that they abhor the notion that their work would not be relevant or not connect with what’s going on in the world.”

 Ornamental Glue |  Sticky Numbers Series | Acrylics on Paper | A.J. Guzman | Amsterdam, 2018

Ornamental Glue |  Sticky Numbers Series | Acrylics on Paper | A.J. Guzman | Amsterdam, 2018

Kanizsa - Circular Genesis at Depth over Distance by Antonio Jose Guzman

Locatie: VOX-POP, Binnengasthuisstraat 9, Amsterdam

The exhibition Depth over Distance is the beginning of an investigation into the relationship between art and its audience. Artist Neil Fortune asks himself whether a work of art can ever be finished without an audience. Does the audience complete a work? What constitutes a finished work, the maker or the audience? For this research, Fortune invited 7 Amsterdam based artists to exhibit both 'finished' and 'unfinished' work. What that means differs per work. VOX-POP invites you to visit this ongoing investigation: which is a dialog between the artists, their work and your role as the audience.

Participants: Jesse Ahlers, Cecilia Bengtsson, Tim Hudson, Ian James Carr, Yasser Ballemans, Antonio Jose Guzman, Neil Fortune, Frank Mandersloot.

Opening times: 2nd till 23rd may, 10.00-17.00, workdays but closed on Wednesday.

Location: VOX-POP, Binnengasthuisstraat 9, Amsterdam

Depth over Distance by Antonio Jose Guzman

Locatie: VOX-POP, Binnengasthuisstraat 9, Amsterdam

The exhibition Depth over Distance is the beginning of an investigation into the relationship between art and its audience. Artist Neil Fortune asks himself whether a work of art can ever be finished without an audience. 

Opening times: 2nd till 23rd may, 10.00-17.00, workdays but closed on Wednesday.

Location: VOX-POP, Binnengasthuisstraat 9, Amsterdam


amsterdam summer residence by Antonio Jose Guzman

artist in residence - spring house

I’m very thrilled to be offered the opportunity to be the artist in residence this summer at the Spring House in Amsterdam. I’ll be creating a new series of textiles, digital works, photos, acrylics on paper and drawings for an autumn exhibition at Museum TwentseWelle and Detras del Muro, Havana Biennial 2019.

Spring House is a members club for innovators at the IJ waterfront in Amsterdam. The club consists of several multifunctional work settings and spaces, each with a distinctive interior. We share the desire for a more social and sustainable society.

With room for 200 flexible and seated members, Spring House is our workspace, lab and platform. Here, at the Amsterdam waterfront, we inspire each other, work together, share alternative ideas with a larger audience, and develop these into actions. Spring House functions as a catalyst, stimulating positive change.


advisor visual arts and cultural heritage by Antonio Jose Guzman

New advisors visual arts and cultural heritage - mondriaan fonds

The Mondriaan Fund works together with numerous independent and expert advisers when assessing applications. These are artists, exhibition makers, critics, art historians, museum staff and other experts who can appreciate the developments in the field of visual art and cultural heritage. On the basis of a nomination by the selection committee, the Mondriaan Fund has appointed 31 new advisors for visual arts and heritage.

From 1 January 2018 they will reinforce the pool of advisers who assess applications to the Mondriaan Fund. The recruitment took place through an open call. The selection committee chose from 280 applications the following new advisers: Agnes Vugts, Anke van der Laan, Annemiek Rens, Annette de Vries, Antonio Jose Guzman Jaramillo, Bas Hendrikx, Bülent Evren, Caro Verbeek, Dineke Stam, Dyonna Benett, Ellen ter Gast, Esther Schreuder, Eva Kleemann, Fieke Krikhaar, Fiona Tan, Ilya Rabinovich, Inge Pollet, Iris Sikking, Jorrit Kelder, Katayoun Arian, Kees Zandvliet, Maaike Schoorel, Maarten Kentgens, Margriet Schavemaker, Michael Tedja, Mique Eggermont, Mila Ernst, Peter van der Es, Robert Jan Verhagen, Sidi El Karchi, Stephanie Noach.

The Mondriaan Fund is a publicly financed fund for visual art and cultural heritage. It supports innovative projects and activities by visual artists, intermediaries (curators and critics), museums and other heritage organizations, art institutions, archives, galleries and commissioning parties. All grants are awarded with a view to promoting the production and presentation of relevant Dutch visual art and heritage in the Netherlands and abroad, where a commercial market is (yet) undeveloped.


bayano - amsterdam museum by Antonio Jose Guzman

Bayano at Seat at the Table: until 18 February 2018

Seat at the Table, is an interactive installation that establishes a conversation about current sociopolitical issues that also existed during the Golden Age. The works can be seen in the Regentenkamer in the Amsterdam Museum during the duo exhibition ‘Ferdinand Bol and Govert Flinck, Rembrandt’s Meesterleerlingen’

‘Seat at the Table’ has been realized with the cooperation and work of: Marga Weimans, Remco Osorio Lobato, Antonio Jose Guzman & Niek Peters, De Reality, Nasr Azamehr, Bruno Filho, Safaa Khazal. Curated by: Jörgen Tjon a Fong (Urban Myth)

Bayano at ‘Seat at theTable’ by Antonio Jose Guzman

Regentenkamer Amsterdam Museum

Opening: Thursday 21 December, 16:00 18:00

21 Dec 2017 – 18 Feb 2018

‘Seat at theTable’ opens festively with a toast and speeches on 21 December at 16:00 and can be seen until February 18, 2018, during the exhibition Ferdinand Bol & Govert Flinck, Rembrandt’s Master’s students. Together with Museum Het Rembrandthuis, the Amsterdam Museum is exhibiting the first extensive retrospective ever about painters Ferdinand Bol (1616-1680) and Govert Flinck (1615-1660).

With works from: Marga Weimans, Remco Osorio Lobato, Antonio Jose Guzman & Niek Peters, The Reality (Senad Alic & Wilma Simons), Nasr Azamehr, Bruno Filho, Safaa Khazal

Amsterdam Museum, Kalverstraat 82, Amsterdam


young collector’s salon: engaged by Antonio Jose Guzman

Coming up…

Young Collector’s Salon: Engaged

Framer Framed

Wednesday 20 December, 19:30 – 21:00

On Wednesday 20 December, Framer Framed is hosting a salon of the Young Collector’s Circle, an organisation connecting (aspiring) art collectors to the arts world. Tonight’s salon will go into the topic of collecting ‘engaged art’. What is engaged art and why is it interesting for collectors? How do engaged artists position themselves in relation to the commercial arts world?

These are some of the questions that will be approached from different perspectives: we will go into conversation with :

– gallerist Leylâ Akinci of Amsterdam-based gallery AKINCI. Representing amongst others artist Ali Kazma, part of current Framer Framed exhibition House of Wisdom;

– artist Antonio José Guzman;

– Josien Pieterse, initiator and director of Framer Framed;

– Manuela Klerkx, collector with a focus on Iranian art, also represents Ag Galerie in Teheran

Framer Framed

IJpromenade 2

1031 KT Amsterdam


monochromatic nieuw dakota by Antonio Jose Guzman

Monochromatic, Ajrakh DNA pattern sequences & Nail Strings

Nieuw Dakota Amsterdam

October 15 – November 19

Antonio José Guzman in collaboration with Textiel Factorij, Iva Jankovic (Mids), Sukor and Sufiyan Khatri

A decade ago Antonio Guzman joined the Genographic Project, an initiative of National Geographic that studies the DNA of thousands of people, helping them to find their ancestry. Guzman found his roots are African, Sephardi Jew and Native American. For a presentation at the Habana Biennial, the artist constructed with Amsterdam’s barrel organist Leon Perlee an organ book with his DNA, the book was played during the Biennial with a Cuban Barrel Organ.

The barrel organ book was scanned, and the artist made banners and sculptures with extracts of his DNA sequence, which is exactly the same sequence that Guzman used for the block prints made in India. The artist did extensive research on the Spakenburg Indian chintz kraplap, a women’s traditional cloth that formed an integral part of the traditional wear for women in the villages of Spakenburg and Bunschoten. The selected kraplappen, part of the collection of the Zuiderzee Museum, are made of indigo painted patterns and red madras textile. The project it’s been developed with a textile printing master in India.

The Monochromatic series will be shown in Nieuw Dakota together with Guzman’s Dukkha Series, in which an assemblage of geometric thread and photo sculptures with influences of Constructivism come together with the culture of the Congolese Diaspora in Panama. The installation at Nieuw Dakota shows us a fascinating universe in which cultural influences from all over the globe come together: the enigmatic anatomy drawings by Jean-Michel Basquiat meet geometrical textile prints from northern India, which merge with the ritual ‘cosmos drawings’ by Günther Uecker as well as the nail patterns in Congolese Nkisi figures.

Opening: October 15th, 4-6 pm
Exhibition: October 15 – November 19
Public Program: October 28: During the 24 hours Amsterdam Noord, the artists invite us to a 15 minute performance with a live barrel organ and visuals related to the installation.

Monochromatic Transillumination #1 by Antonio Jose Guzman

 DUSTY & THE ELECTRIC DUB -D.A.T.E.D. - (A.J. GUZMAN AURORA & ADAMS) Paris 2012 Antonio Guzman assembled his live Transillumination # 1 with singing and Voice of Aurora Adams.

Antonio Guzman assembled his live Transillumination # 1 with singing and Voice of Aurora Adams.

This coming Saturday 28th of October as part of the elaborate research done for Project Monochromatic, I’ll be performing Transillumination #1, DNA sequences & Repetitive Compositions, developed with North American singer songwriter Aurora Adams. Performance goes from 4 until 8pm. It’s going to be a beautiful day at Nieuw Dakota, Amsterdam, so come over and grab some roti & drinks.

I’ll be also mixing and experimenting with electronic noise, ambient, abstract glitch, minimal, industrial, electro, dubtropica, drone beats and tracks from artists like Ryoji Ikeda and Philip Glass. Léon Perlee will play the barrel organ.

Transillumination #1 Its been composed together with Alejandro Matamala and Leon Perlee, its been played and arranged with Espíritu Tico and Tatiana Koleva in the marimbas, Heriberto Pinzon in the Piano, Leon Perlee and Organo la Tradición del Milenio in the barrel organs.

This massive transcultural production was part of the 12 Bienal de La Habana Biennial and the Bienal Centroamericana.

This project would not have been possible with out the support from The Mondriaan Fonds and Fundación Alemán Healy.


12:00-22:00 Exhibition & Live Set

16:00, 18:00 and 20:00 – Performance by the artist (approx. 15 minutes)

Concert Series & Music for Barrel organ

Duration: continuous exhibition; artist’s performances approx. 15 minutes

24H Amsterdam: This event is part of the 24H Noord programme. 24H Amsterdam offers a chance to discover all that Amsterdam’s neighbourhoods have to offer in a 24-hour period, as theatres, museums, shops, hotels and clubs open their doors and throw up some special surprises. Each edition of 24H is dedicated to a different part of town.

I'am a native foreigner by Antonio Jose Guzman


Aspects of migration in the collection of the Stedelijk Museum.

22 sep 2017 till 2 jun 2018

Lectures and Talks at the Stedelijk Museum about the works of Remy Jungerman, Ulises Carrión, Otobong Nkanga’s and about MOMA’S 2009 show In & Out of Amsterdam: Travels in Conceptual Art, 1960–1976.

The Stedelijk Museum Amsterdam is mounting a series of exhibitions in 2017 and 2018 that explore different aspects of the theme migration. “I Am a Native Foreigner” examines migration by focusing on the museum’s collection: what are artists views on migration, and how do they visualise it in their work? This collection presentation considers the effects of migration on artists both past and present, and reveals how they dealt with, and depicted, the impact of displacement. The title “I Am a Native Foreigner” is taken from a statement made by the Mexican artist Ulises Carrión (1941-1989), who settled in Amsterdam in the 1970s.

The work in “I Am a Native Foreigner” ranges from photographs of Dutch immigrants disembarking at New York’s Ellis Island around 1900, and Surinamese-born Dutch who made their home in the Bijlmer in Amsterdam southeast in the late ‘70s, to more recent images of refugees off the coast of southern Spain.

Some artists, like Remy Jungerman and Ed Hart, were once migrants themselves, and articulate that experience in their work. In the 1960s and ‘70s, they left their homeland, Suriname, for Amsterdam. In Jungerman’s work, the squashed toad motif serves “as a metaphor for something or someone who voluntarily steps out of their natural habitat. That step is a risk: you might end up being squashed flat, but you might escape.”

Some artists explore the relationship between migration and the colonial past of the Netherlands. In La Javanaise, Wendelien van Oldenborgh concentrates on ‘Dutch wax’, highlighting the way in which the Dutch appropriated the traditional batik technique to produce fabrics which were – and still are – immensely popular on the African market. Born in South Africa and resident in Amsterdam since 1976, Marlene Dumas scrutinizes the relationship between image and stereotype in Young Men, a series of portraits featuring males of North African appearance.

"I Am a Native Foreigner” is one of a series of exhibitions on the theme of migration staged by the Stedelijk in 2017 and 2018. As director Beatrix Ruf noted earlier this year: “It is important to always tell new stories, both with our collection and with separate exhibitions.”

"I Am a Native Foreigner” is curated by Stedelijk curator Leontine Coelewij and includes work by:

Peter Alma (ID, 1886 – NL, 1969) | Halil Altindere (TR, 1971) | Francis Alys (BE, 1959) | Kors van Bennekom (NL, 1933 – 2016) | Rossella Biscotti (IT, 1979)| Miguel-Ángel Cárdenas (CO, 1934 – NL, 2015) | Ulises Carrión (MX, 1941 – NL, 1989) | Ad van Denderen (NL, 1943) | Rineke Dijkstra (NL, 1959) | Agoes Djaya (ID, 1913 – 1994) | Otto Djaya (ID, 1916 – 2002) | Marlene Dumas (ZA, 1953) | Aslan Gaisumov (Chechnya, 1991) | Gillion Grantsaan (SR, 1968) | Ed Hart (SR, 1936) | Nola Hatterman (NL, 1899 – SR, 1984) | Lewis Hine (US, 1874 – 1940) | Remy Jungerman ( SR, 1959) | Aart Klein (NL, 1909 – 2001) | Bertien van Manen (NL, 1942) | Meredith Monk (PE, 1942) | Otobong Nkanga (NG, 1974) | Wendelien van Oldenborgh (NL, 1962) | Michiel Schuurman (NL, 1974) | Barbara Visser (NL, 1966)