Rietlanden Women’s Office
WORKS

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ORNAMENTAL PORTAL
Offset iris-print A1 poster, folded to A4, Amsterdam (Autumn 2022)

Poster / portal to the Department of Ornament in the Palace of Typographic Masonry with text by Dirk Vis and in collaboration with Richard Niessen, printed by Zwaan Lenoir.

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LOVING CRITIQUE
Letterpress and digital print of collective book design and workshop project, Amsterdam / The Hague (Summer 2022)

Part of the Keywords series of the MA Artistic Research of the Royal Academy of Art, The Hague. Collective design for this version of the annual publication series with writings and images by the students.

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REALLY, NO BIGGIE
Riso printed chapbook, Amsterdam / Houston (Summer 2022)

Book design and gutter graphics for Bruce Hainley’s poetry chapbook Really, No Biggie. Riso printed by Terry Bleu.

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APRON DELANTAL
Offset printed publication, Amsterdam (Summer 2022)

Publication design for the first issue of Booklook, a project by Anouk Beckers, which is resulting in a series of magazines where each issue can unfold into another type of wearable item. This first issue published a text by artist and researcher María Naidich about the Tseltalero dress, a garment created and worn by women from Tseltal and Tojolabal communities in southeastern Mexico. It can be unfolded and worn as an apron. Printed on washable paper at Rob Stolk, Amsterdam.

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HEAVY
Papier maché ornament, Amsterdam (Spring 2022)

Ornament to the performance Serenade by Smári Rúnar Róbertsson for Welcome Stranger at Het HEM. In the performance Smári sang the song *Heavy*. Excerpt:
  And I’ve grown cold by the fire living out of town
  And I’ve grown mean and I’ve grown older
  And I’ve grown quiet and I’ve grown tired now
  And I’ve grown tired now
  And you’ve grown heavy over summer living off the land
  And you’ve grown massive eating flowers and small insects

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HANDS IN ONION BAGS
Ink painted curtain, Amsterdam (Winter 2022)

*Hands in onion bags, lives permanently interrupted* from Rosalind Belben’s text *Daffodils* republished in MsHeresies 4. Shown at San Serriffe, Amsterdam.

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MOP MOP
Publication design, Amsterdam (Winter 2022)

Mop Mop is a new multilingual magazine for circulating poetry outside the system of careers, blurbs, and prizes. This first issue, edited by Cato van Schaik and Phil Baber, is published by Amsterdam poetry center Perdu and contains poetry in Dutch and English from Amy De’Ath, Anne Vegter, Astrid Alben, Maria Barnas, Michael Tedja, Peter Manson, Ryan Dobran, and Verity Spott. It is riso printed by Terry Bleu and designed with sampled, reworked, and collaged material from Perdu’s archive.

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STUDIUM GENERALE RIETVELD ACADEMIE
Web design (Winter 2022)

Design for the programme and archive website of Studium Generale Rietveld Academie of the Gerrit Rietveld Academie in Amsterdam. Its programme encourages independent thinking and making by allowing knowledge, reflection, and imagination to interact with each other in unorthodox and experimental ways. Web development by Paul Bernhard and in collaboration with studium generale curators Jorinde Seijdel and Jort van der Laan.

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MsHERESIES 4 — DAFFODILS
Offset printed publication, Amsterdam (Winter 2021)

This fourth issue of MsHeresies republishes the chapter *Daffodils* — a warped monologue about a domestic poisoning — from Rosalind Belben’s book Is Beauty Good (1989). It is typeset alongside a collage of material from two medieval manuscripts: Isidore of Seville’s Etymologiae and De natura rerum (circa 1130–74), which was illuminated and transcribed by a group of eight nuns at the Benedictine abbey of Munsterbilzen in Maastricht; and the so called Claricia Psalter (late 12th–early 13th century) from the abbey of saints Ulrich and Afra in Augsberg, also made by a group of nuns and named after the novice Claricia who is believed to have drawn herself hanging like the tail of a drop-cap Q in the psalter section of the book.

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ANEMONES: A SIMONE WEIL PROJECT
Book design, Amsterdam (Winter 2021)

Poet Lisa Robertson’s Anemones: A Simone Weil Project is part of the *Performance in Residence* programme within If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, Amsterdam. It is curated by Sara Giannini and includes a floral action by Benny Nemer.
  The book is offset printed in black and a three-colour iris at Drukkerij Raddraaier. Photo documentation by Temra Pavlovic.

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SUMMER WORK
Textile piece, Amsterdam (Summer 2021)

Summer Work is a collaborative textile and monotype print piece (35m2), made while talking about being rigid, flexible, work, how not to, be useful, there for each other, sabotage, delay, dedication, domestic horror, loneliness, repetition, rhyme, rent, spring and summer.
  Made together with Asefeh Tayebani, Rosita Kær, Anne Boyer, Moa Holgersson, and Juliet Aaltonen. Shown at bologna.cc, Amsterdam.

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UNSTABLE PLEASURES
Cover artwork, Amsterdam (Summer 2021)

Cover artwork for Unstable Pleasures: Unravelling Desires in More-Than-Human-Worlds written by Hannah Pezzack. Surrounding concepts of eco-erotics, becoming-with, relationality, the compost…

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HOOFDWEG (A POSSIBLE LINE)
Offset prints, Amsterdam (Summer 2021)

Print and design for Radna Rumping’s work Hoofdweg (A Possible Line) for Welcome Stranger. The print was distributed by Radna Rumping and Alina Lupu to the 2000 residents at Hoofdweg, Amsterdam. Printed with Drukkerij Raddraaier in an edition 2500.

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THE DIARY AS FEMINIST GENRE, PART 2/2
A2 riso prints, Amsterdam (Spring 2021)

Poster series for The Diary as Feminist Genre, a workshop series which takes the affinities of diary writing and feminism as a starting point to experiment with different genres in/as the diary. Initiated by writer Emma van Meyeren and with workshops led by Romy Day Winkel, Tessel Veneboer, Leana Boven, Grâce Ndjako, Fiep van Bodegom, and Mia You. Printed by Extrapool in an edition of 40.

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THE DIARY AS FEMINIST GENRE, PART 1/2
A2 riso prints, Amsterdam (Spring 2021)

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“I AM A FISH,” SHE SAID, “A FISH IN WATER. I AM INSIDE THE BABY INSIDE ME”
A0 inkjet print, Stuttgart (Spring 2021)

Contribution to the group exhibition Beyond Walls — Über Grenzen hinaus at Kunstmuseum Stuttgart, initiated by Akademie Schloss Solitude. Title text from Ursula K. Le Guin’s novel The Dispossessed (1974). Participating artists: Rheim Alkadhi, Shirin Barghnavard, Chiara Bugatti, Butterland (Regina Dürig und Christian Müller), Estudio Jochamowitz Rivera, Ana Filipovic/Philipp Mecke, Giuliana Kiersz, Manuel Mathieu, Padraig Robinson, and Georges Senga. Curated by Elke aus dem Moore, Sarie Nijboer, and Sebastian Schneider. Exhibition Design by Fotini Lazaridou-Hatzigoga, and Ilke Penzlien. Photo by Frank Kleinbach.


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64 PAINTINGS
Offset printed publication, Stuttgart (Winter 2021)

Book design and 64 paintings for the book’s page numbers. Made for the group exhibition Beyond Walls — Über Grenzen hinaus at Kunstmuseum Stuttgart, initiated by Akademie Schloss Solitude. Including texts about the works written by Julia Eckert, Vinicius Jatobá, Hannah Star Rogers, Sarie Nijboer, Mikael Brkic, Sarie Nijboer, Georges Senga, Annette Schmucki, Denise Helene Sumi, Elke aus dem Moore, and Sebastian Schneider. Photos of the book by Natalie Brehmer.


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MsHERESIES 3 — AMNIOTECHNICS
Offset printed publication, Amsterdam (Winter 2020)

Dedicated to the incredible – and incredibly beautiful – publication Triple Jeopardy (1971–75, by the Third World Women’s Alliance), as well as the ideas in Sophie Lewis’s book Full Surrogacy Now! – Feminism Against Family (Verso, 2019). MsHeresies 3 is reprinting the book’s final chapter, the essay *Amniotechnics.*
  Each spread weaves edited material from Triple Jeopardy with Sophie Lewis’s essay. These intuitive and meticulous compositions are the outcome of looking at Triple Jeopardy through the lens of collaborative graphic design. Reading, typesetting, collaging, painting, and ornamenting became a way of designing together while attempting an homage, a re-reading, and a cross-publication friendship.

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EVERYBODY EVERYTHING, OTHER BIRDS WALK THIS WAY TOO
Offset printed A2 poster, Amsterdam (Autumn 2020)

Posters with drawings and rant together with an excerpt from the poem Walking Like a Robin by Bernadette Mayer. Printed with Raddraaier, Amsterdam. Distributed and shown at the group exhibition All these buildings, the clock and its hour at Kalverstraat 28, with Naomi Credé & Rosie Haward, Philip Coyne, Darío Dezfuli & Simona Koutná, Harriet Foyster, Andrés García Vidal, Miyuki Inoue, Frédérique Gagnon, and Aidan Wall.

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MONSTERS RAMPAGE BECAUSE OF A LACK OF CARE — REPRODUCTIVE LABOUR AND GRAPHIC DESIGN
Online lecture at Linneaus University, Kalmar (Autumn 2020)

On MsHeresies, the concept of (full) surrogacy, and how that might translate to a graphic design practice.
  From *Amniotechnics,* republished in MsHeresies 3, Sophie Lewis writes: Who holds and catches whose blood? Who rips into whom? Doctor or monster? Gestator or gestatee? What’s certain is that monsters rampage, as Mary Shelley wrote, because of a lack of care. It was probably ultimately the man of science, denied the chance to be a mother, who was the more destructive monster on the rampage.

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THE STUDENT
Offset printed A2 poster for Studium Generale Rietveld Academie, Amsterdam (Summer 2020)

Acetone transfer collage with detail from Lena Cronqvist’s painting The Ice (1975). Text and glossary from the essay *Debt and Study* in The Undercommons: Fugitive Planning & Black Study (2013) by Stefano Harney and Fred Moten:
  Credit: keeps track / runs only one way
  (Bad) Debt: forgets / runs in every direction, scatters, escapes, seeks refuge
  Student(s): a bad debtor threatened by credit / study without an end, plan without a pause, rebel without a policy, conserve without a patrimony / never graduate / just ain’t ready / are building something in there, down there. Mutual debt, debt unpayable, debt unbounded, debt unconsolidated, debt to each other in a study group, to others in a barber shop, to others in a squat, a dump, a woods, a bed, an embrace

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SURROGACY, TRIPLE JEOPARDY, MsHERESIES 3
Lecture at Akademie Schloss Solitude, Stuttgart (Summer 2020)

A lecture about graphic design as a visual dedication to others’ material (texts and images), and how we read and learn and add to our vocabulary through typesetting, drawing, printing, collaging.

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GRAPHIC DESIGN IN THE BROKEN MIDDLE
Lecture at Konstfack University of Arts and Crafts, Stockholm (Winter 2020)

About formulating modes of working and ways of building a feminist collective design practice. About adapting and adopting a range of expressions connected to collective design work: reading as design, lust as feminist method, the agency of ornamentation, animal rest, and the broken middle. The broken part reminds us of what we are: not innocent – all the while complicit, acting, trying, working.

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DRAFTING A MANIFESTO
Contribution to
Girls Like Us Magazine issue 12, Amsterdam/Brussels (Winter 2019)

A manifesto in flux as a continuing negotiation with ourselves and ideas of the past and present.
   We need a good Animal Rest. This is rest in abundance and completely free from anxiety. It can not be achieved on an individual level, it is not a private matter of self-help, wellness, and mindfulness – that’s toiling too. It is the rest that the *beast-like pain,* inherent in all work demands. It’s a collective, radical rest.

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ORNAMENTAL REST
Collaboratively printed monotypes, double-voice reading, Amsterdam (Autumn 2019)

The group exhibition Ornamental Rest was initiated following the publishing of MsHeresies 2 at Laurel Project Space. With a reading from MsHeresies 1 and MsHeresies 2, monotype posters printed together with Juliet Aaltonen and Rosita Kaer, and works by Elina Birkehag, Klara Graah, and Asefeh Tayebani.

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MsHERESIES 2 — USEFUL WORK VERSUS USELESS TOIL
Offset printed publication, Amsterdam (Autumn 2019)

The second issue of MsHeresies includes collages, paintings, and hommages to the work of sisters Vanessa Bell and Virginia Woolf, whose collaboration defied preconceived ideas of both text/image hierarchies, as well as rivalry at the cost of sisterhood. This visual essay is published alongside William Morris’s lecture Useful Work versus Useless Toil from 1884 which introduces the idea of the ornamental and its relationship to work and rest.
   The ornamental can only come about under certain conditions: enough rest, agency, and variation of work. The ornamental is never an outcome or product of these conditions; but something intrinsically intertwined therein.

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THE VERB IS FILLED BY THE FLESH
Performative lecture and reading, Amsterdam (Summer 2018)

Projected live designing/reading as part of Preliminary studies toward de nieuwe nieuwsmarkt (initiated by Werker Collective) with Experimental Jetset at De Appel.
  The aktiegroep Nieuwmarkt was a group of activists in the 60s and 70s who opposed the planned demolition of the Nieuwmarkt area in Amsterdam. They did so by making use of several media such as a self-organised radio station, actions in public space, posters, pamphlets, and a self-published magazine called DeNieuwsmarkt. De Nieuwe Nieuwsmarkt stems from this history and will be a long-term magazine project dealing with similar issues in Amsterdam today.

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KITCHEN TABLE
Painting, Zürich (Summer 2018)

Painting as contribution to a publication for Après moi, le déluge, an exhibition by Anna Reutinger, Garance Wullschleger, and Francesca Brusa at Klara Kiss Zip Space.

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MsHERESIES 1 – CONDITIONS FOR WORK: THE COMMON WORLD OF WOMEN
Offset printed publication, Amsterdam (Spring 2018)

MsHeresies is a research through collaborative graphic design into the wide topic of work.
  The first issue of MsHeresies joined collaged graphics from Heresies: A Feminist Publication on Art and Politics and art director Bea Feitler’s work with Ms. magazine alongside an essay by Adrienne Rich – *Conditions for Work: The Common World of Women* from the Heresies Collective online archive.




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