Opening 10 juli 2022 16:00 tot 18:00 uur.

Vanaf 10 juli 2022 is in de praktijk het werk van Joseph Sassoon Semah te zien.

De expositie is op werkdagen te bezichtigen tijdens de openingsuren van de praktijk, 09.00 tot 15.00 uur en volgens afspraak.

De expositie loopt tot eind september 2022.

On Friendship / (Collateral Damage) IV.
How to Explain Hare Hunting to a Dead German Artist.
[The usefulness of continuous measurement of the distance between Nostalgia and Melancholia]
[Please note: “Hare Hunting” was a [codeword] euphemism for killing Jews by the Nazi troops during the Holocaust]
Joseph Sassoon Semah has done extensive research into Joseph Beuys’ work, values, and Ideas.
Based on this research he analyses the deeper meaning and the (secret) symbols as well as the hidden strategy used by Joseph Beuys.
He reacts to them using new monumental sculptures and a series of old and new drawings, performances, texts, and meetings.
With this project which takes place in 12 institutes, we are trying to raise public awareness about the missing information on Joseph Beuys.
Information that has been disregarded during this celebratory year or has been evaded to avoid uncomfortable confrontations.
Excerpt – from a letter written by Joseph Sassoon Semah to Albrecht Dürer 1986
…Please remember, such an order – [ Jose[f]ph Beuys “Show Your Wound” ] “Zeige Deine Wunde”- from a German [ex] Nazi soldier to a certain Guest is not innocent, and the Guest always knows what will become of this quest;
Because as it is, there is always a risk following the showing of the wound of BRIT – MILaH, [Covenant of circumcision] in the Extended Territory of Jose[f]ph Beuys;
After all, one cannot forget the devastating actions of Nazi Germany upon the Guest’ [Covenant of circumcision] –
There is no secret here, the Guest’s authentic healed wound is already buried, in the ground of the extended territory of Jose[f]ph Beuys…
The project is realized in part with the support of Mondriaan Fund, the public fund for visual art and cultural heritage,
and Redstone The project is realized in part with the support of Mondriaan Fund, the public fund for visual art and cultural heritage, and Redstone Natuursteen & Projecten.
Curator Linda Bouws