P1 P2 P3 P4 P5 P6 P7 P8 P9 P10 P11 P12 P13 P14 P15 P16 P17 P18 P19
Joyce Andoetoe Sphinxkwartier project cordinator Lutz Krebs UNU-Merit employee Pascalle Satijn WOM Belvedere employee Marjolein Senden WOM Belvedere employee Sten Ritterfeld UNU-Merit student Julieta Marotta Sphinx former employee Sonny Biesmans TSH employee Con Panayotopoulos Owner of wijnbar Wienkonrot Isabelle Berns UNU-Merit student Josette Guerra Sphinx former employee Erwin Gerardu Communication for Sphinxkwartier Jim Swinkels TSH employee Peter Mommers Info-centrum Belvedere employee Rene Brouwers Sphinxkwartier guide Mika Huntjens TSH employee Carmen Laveaux TSH employee Armand Metekohy TSH employee Tom Pijnenburg TSH employee Ginny King TSH employee
P20 Jorge Hoogendoorn Tenant at LBB P21 Tobias Meierdierks Tenant at LBB P22 Abigail Daley UNU-Merit employee P23 Ludo Nuijens Nieuwestroom management P24 Daniella Pauly Jensen The Commons Restaurant employee P25 Jan Kleinheinrich UNU-Merit student P26 Pierre Vriezelaar Sphinx former employee P27 Sueli Brodin UNU-Merit and Maastricht University employee P28 Antanasios Tsarouchas UNU-Merit student P29 Rob Bösche Sphinx former employee P30 Patrique Butté TSH employee / Chairman Stichting Sphinxkwartier P31 Emmanuel Merkus TSH collab professional, Yongbloed co-founder P32 Danielle Beiten Sphinx former employee & Info centrum Belvédère employee P33 Bob van Tilburg Tenant at LBB P34 Remco Beckers Bureau Europa employee
P35 Wim Dijkman Centre Céramique Senior conservator P36 Sjuul Groenen TSH Collab professional, Yongbloed P37 Edith Zane Sphinx former employee P38 Tresie Heuts Sphinx former employee P39 Kitty Veugen Sphinx former employee P40 Jeannine Jeuken Sphinx former employee P41 Philomene Vrijens Sphinx former employee P42 Maria ProesmansCardone Sphinx former employee P43 Sira Westerveld 3W Real Estate employee P44 Joep Smeets 3W Real Estate employee P45 Jaco Meuwissen Director 3W Real Estate P46 Edwin van Oirschot Sphinx former employee P47 Saskia van Stein Bureau Europa (former) director P48 Giulia Lana Sphinx Zuid bv. employee P49 Piet Joosten Sphinx Zuid bv. director
P50 Bart Boijens RO groep employee P51 Nico Limpetti Sphinx former employee P52 Faggio Domenico Sphinx former employee P53 Rob Dresen Bold Rooftopbar employee P54 Pieter van Veldhoven Bold Rooftopbar employee P55 Patrick Smeets TSH employee P56 Marjo de Vries Vormstof co-owner P57 Jo Schoenmakers Vormstof co-owner P58 Patrick Jaspers Pathe Cinema Maastricht employee P59 Natalia Privee Boudeguer UNU-Merit student P60 Danielle van Dijk Lumière Cinema employee P61 Chris Wade Luchtverkeerleiding director P62 Merlijn Hermans Lumière Cinema employee P63 Diana Dolmans Lumière Cinema employee P64 Betty Corvers Lumière Cinema employee P65 Jos Daenen Sphinx former employee P66 Annelies Vossen
P67 P68 P69 P70 P71 P72
P73 P74 P75 P76 P77 P78 P79 P80 P81
Volunteer Lumiere Cinema Harold Wilders Sphinx former employee Gerdie Haasen Sphinx Resident Mechteld Jansen Sphinx Resident Jan Jansen Sphinx former employee Marcel van Dam Sphinx former employee Anna van Dam Daughter of Marcel van Dam, Sphinx former employee Anita Jazic Pathe Cinema Maastricht employee Miranda Wijler Pathe Cinema Maastricht employee Jet Nuij Bureau Europa employee Henny Aarts Sphinx former employee Ronnie Aarts Sphinx former employee Harrie van Bijnen Sphinx former employee Peter van Bijnen Sphinx former employee Math Franssen Sphinx former employee Lenie MaessenBlanckers
Sphinx former employee P82 Mercedes van Breemen Pathe Cinema Maastricht employee P83 Linda al Sharif Mandril Cultural & Political Centre former resident P84 Hortense Brounts Lumière Cinema employee P85 Ingrid Cobben The European Journalism Centre employee P86 P. J. S. Claessens Sphinx former employee P87 Nadine Bemelmans Lumière Cinema employee P88 Esther Cremers Gedeelde Weelde employee P89 Jac van den Boogard Teacher of the history of the industrialisation of Maastricht P90 Michel Lemmens Gedeelde Weelde employee P91 Jan Meijers Sphinx/Geberit employee P92 Marianne Bittremieux Lumière Cinema employee P93 Willibrord Nota Lumière Cinema volunteer P94 Philip Rodenburg Lumière Cinema employee
Sphinx Inside Out
Table of Content
To turn a sphinx inside out is not easy 6 Sphinx Inside Out Project statement 11 181 portraits 27 A conversation with the artist 40 J. Schoenmaekers, Sphinx employee for half a century 92 Acknowledgement & Thanks 157 Colophon 167
To turn a sphinx inside out is not easy
6
By way of an introduction: Five thoughts and a reference
alive, that they existed. A father can be found here, and a daughter, and a brother, a niece and a friend, a lover, a spouse. Even a self as in a mirror – but not quite. The book constitutes a sociological archive of sorts. In it three distinct groups of people are brought together to be looked at, to be contemplated, to be compared. The book is a documentation of an artwork. The book is an This book can and should artwork. be used in many different Christine and I welcome ways. It is for example all these uses, all these akin to a family album. It contains within it more readings of this book. We do not prefer one over the than one hundred and eighty portraits of individ- other. We do not want to limit the uses or readings ual people. Does it keep in any way. them safe? Does it hold them close? Sadly, no. Bringing Inside Out The book can not hold to Maastricht was a off time and decay and courageous act. We death. But it does keep the faith, it is a testament, applaud that act, that courage. We try to live up a witness, it states to its challenge. unÂequivocally the fact In this book several that these individuals were present to be photo- texts are added to graphed, that they were the corpus of the one From the beginning, from the moment Christine and I began to discuss her vision of how she wanted to photograph the former workers of the ceramic factory, loyalty was of paramount importance to both of us. We wanted the work to be faithful to the people photographed. But we also wanted the work to be true to the global public artwork Inside Out and its critical intent.
7
hundred and eighty plus photographs. We view them as integral parts of the documentation and of the artwork. There is for example the interview with Christine were she gives an accounting of the making of. There is the original proposal for Sphinx Inside Out. By including this in the book it becomes possible for a reader to map the differences between the conception and the execution of the work. There is a modest, easily overlooked text, not unlike a trail of breadcrumbs, almost hidden in between the photographs, that combines a theory (of photography), an interpretation (of the global Inside Out project) and a commentary (on the Maastricht iteration, on Sphinx Inside Out.) None of these texts claims to exhaust the meanings of the project and of this book. 8
The closest contemporary sibling of this art project in Maastricht is a work realized in New York called “A Subtlety� by the artist Kara Walker. Frans Geraedts
9
26
181 portraits
P39
P86
I found my way to the book “Civil Imagination: a political ontology” written by Arielle Azoulay through the work of Fred Moten, in particular in following up on my first reading of his trilogy ‘Consent not be a singular being’. What knots those two texts together is a photograph, of course. One of
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a series of photographs, actually. It is the photograph of Elisabeth Eckford. (Google Elisabeth Eckford and follow her trace, follow her example, follow her lead.) ➝ 32
P67
29
P65
P155
P60
54
P104
P26
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P80 “From 1977 until 2006 I worked as a process operator at Sphinx. I played quite a few pranks on my colleagues in that time! My favourite was to add some dye to some of the shower heads. Then when you showered, you turned blue and could barely get it off! I have some beautiful memories, it was one big family. Every Friday we baked snacks together. Every year we still have a reunion for old colleagues at ’t Rozenhoedje.”
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“Van 1977-2006 werkte ik als procesoperator bij de Sphinx. In die jaren heb ik heel wat collega’s voor de gek gehouden. Mijn favoriete grap was om kleurstof in de douchekop te doen. Tijdens de douchebeurt kleurde je dan helemaal blauw, dat kreeg je er bijna niet af… Ik heb mooie herinneringen, het was één grote familie, iedere vrijdag bakten we samen snacks. Nog Ieder jaar hebben we een reünie met oud collega’s bij ’t Rozenhoedje.”
P80
P145
P37
P51
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P163
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P10
P170
Before Azoulay establishes the civil gaze as an irrefutable obligation, she puts forward and substantiates the historical claim that photography and the civil gaze emerge together, that it actually is photography that has brought that gaze to mind and into the world. Photography
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democratizes the portrait and in doing so it bestows equity and dignity. Everyone is worthy. âž? 65
P83
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P83 “When I travel, even recently in Ethiopia, or when in one way or another I meet people who have ever been in Maastricht, I hear stories about what the Mandril has meant to people. An accessible homefront, where money or class doesn’t play a role in how welcome you are. Where art, culture, music and creation were abundant, shared, and where people could create together. Where different ages, nationalities, languages, professions and perspectives could meet and have enriched one another (and Maastricht). What a paradise! Gratitude to everyone who has contributed to that.”
The global long term public artwork Inside Out invites groups of people from all over the world to create photographic (self) portraits in black and white. The project prints those photographs for them on paper in a large size. The group then pastes these huge poster portraits on
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“Als ik op reis ben en ik ontmoet mensen die ooit in Maastricht zijn geweest, dan hoor ik verhalen over wat De Mandril voor ze heeft betekend. Het was een thuisbasis waar geld of klasse geen rol speelde en waar kunst, cultuur en muziek alomtegenwoordig waren. Er werd gedeeld en samen gecreeërd. Verschillende leeftijden, nationaliteiten, talen, beroepen en perspectieven ontmoetten elkaar daar en verrijkten zo elkaar (en Maastricht). Wat een paradijs! Ik ben iedereen die daar aan meewerkte dankbaar.”
walls or buildings in their local environment. The scale of the project is immense; hundreds of groups from all over the world have already taken part. ➝ 78
“In 2009 we founded the ‘Mandril Cultural & Political Centre’, that we gave a home in a decayed and neglected building on the Boschstraat. After a few years of hard (voluntary) work, we reached our climax in 2014. Every day we had a full programme with hundreds of visitors. It was the same for our two neighbours – the squads Hotel de Ossekop & Cultuurfront. In 2014 we talked to the municipality, because they wanted to house the Toneelgroep Maastricht there. We voluntarily decided to make space for that. Unfortunately the building was not accommodated by the Toneelgroep or any other group after we left, but remained empty for another 3 years due to policy issues.” Linda al Sharif Lived at Mandril from 2009-2014
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“In 2009 werd ‘Mandril Political & Cultural Centre’ opgericht, we vonden een thuis in een verwaarloosd pand aan de Boschstraat. Na jaren van vrijwilligerswerk bereikten we in 2014 ons hoogtepunt. Iedere dag was er een vol programma met honderden bezoekers. Samen met onze buren, de kraakpanden ‘Hotel de Ossekop’ en ‘Cultuurfront’ gingen we in 2014 in gesprek met de gemeente, zij wilden Toneelgroep Maastricht in onze gebouwen vestigen. Vrijwillig besloten we de panden te ontruimen om plek te maken voor het theatergezelschap. Het is heel erg zuur dat de gebouwen daarna drie jaar leeg bleven staan, voornamelijk door politieke problemen.”
P119 “I was squatting the building where Mandril political and cultural centre was founded. It was a beautiful space to create, learn and meet people from around the world. A place where a lot of things happened and allowed me to change my life for good.”
P119
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“Als kraker bezette ik het gebouw waar later Mandril werd opgericht, een centrum voor Cultuur en Politiek. De Mandril werd een mooie plek voor uitwisseling met mensen van over de hele wereld. Daar deel van uit te maken, veranderde mijn leven voorgoed.”
Inside Out exists in many iterations and variations. Closest to its ethos are those instances were a marginalized or disadvantaged or discriminated group or community avails itself of the possibilities of the project. By pasting the postered portraits of themselves onto a public surface, within a
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public space, for all to see, for the public to see, the individuals that are part of the group or community proclaim their humanity, their equity, their individuality, their citizenship. âž? 81
P33
79
P11
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P87 “It’s so nice to be able to say that my mother also worked in the Sphinx Quarter as a designer for the Sphinx. Her name is Monique Bemelmans-Huynen.”
“Wat leuk is om te vertellen is dat mijn moeder ook in het Sphinxkwartier gewerkt heeft als designer voor de Sphinx. Haar naam is Monique Bemelmans-Huynen.”
P87
Sphinx, the Maastricht iteration of Inside Out, is connected to a specific locality. It is connected to the set of buildings and streets and public spaces that formerly housed a huge factory of household ceramics, like bathtubs, washbasins, toilet-pots. This industrial environment has
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been redeveloped. It now caters to a longing for authenticity, a sophisticated sense of beauty and an acute understanding of the value of branding. ➝ 102
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Acknowledgement & Thanks This project has been realised in memory of Tom Goossen
A heartfelt thank you to all the people who donated to this project through the Voordekunst Crowdfunding campaign and supported to make the book real! Angelique Maessen, Dario Tortorelli, Dagmar Frusch, Maud Douwes, Mr, Jansen, Mr. Brouwers, Danielle Beiten, S. Frush, Tanya Reinards, Bert Smeets, Marres Center for contemporary art, Hortense Brounts, Anna Ellfers, First Aid Design, Meij, David Roosenberg, Limbio Tuin, Clarisse Russel, Claudia Volders, Rick Wagemans, Peter Doyle, Annelies Vossen, Ilaria Rossetti, Paolo Pedrotti, Josette Smeets, Nathalie Brans, Monique Frush, Hannah Munz, Gerdie Haasen, Ten Barge, Wim Dijkman, Willibrord Nota, Kitty Veugen, Maurice van Os, Kaya Lusti, Diane Dolmans, Bettina Bräm, Maria Vatista, Joep Vossebeld, Marieke Severens and
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Faustini, Flora Guery, Sohini Gosh, Marianne Lepouzé, Lucinda Maitra, A big thank you to all the Morgana, Nadine, Danai people who participated Papathanasiou, Paolo in this project and to the Pedrotti, Pooria, Marco Sposini, Tereza Spustova, team of Infocentrum Belvedere for the constant Laura Selvi, Tracy, Anna Chiara Todeschini, Maria support given in the realisation of this project. Vatista, Rutger de Vos, Zoe Zanello, Lucy Willems. In particular to Erwin Gerardu and Marjolein Thanks to Kiki Goossen Senden. for the pictures of Tom Goossen Thanks again to all the volunteers that helped us hanging and removing Supported by Bankgiro-loterij-fonds the posters, Pavlos Provincie-limburg Amperialis, Maria de Gemeente Maastricht Blas, Pietro Bonizzi, Prins Bernard Catarina Burguete, Cultuurfonds Limburg Maria Paola Cavallo, Stc. Sphinx. Rachele Chiesa, Banu Demiralp, Marco di Bacco, Sappi Maastricht Katharina Eiben, Alessio all the others anonymous donors.
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Colophon
About the authors: cmunzartists is the collaboration between artist Christine Munz and philosopher Frans Geraedts. Together they are one public artist. The Artist and the Others is an initiative based on the importance of arts for our society and the benefit of shared knowledge. The Artist and the Others gives each project a framework and brings together our expertise and connections to create a solution that meets the needs and delivered with the highest quality.
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Imprint: Sphinx Inside Out is a project developed in collaboration between cmunzartists and The Artist and the Others. Sphinx Inside Out run from June 11, till August 31, 2019 in Maastricht.
Christine Munz p 2, 4/5, 14, 17, 22-26, 77, 78, 82, 88-91, 118/119, 150-155, 163, 166 Jonathan Vos 148, 156
Curation & Production: Jessica Capra Emily Marr
Design: Studio Denk studiodenk.nl
Coordination: Laura Selvi
Printing: Drukkerij Tielen drukkerijtielen.nl
Portrait photography: Christine Munz, cmunzartists Without title: 19 texts, Frans Geraedts, cmunzartists Other Contributors: Backdrop photography by Joris Hilterman p 9, 10, 17 Photography by Tetsuro Miyazaki p 48-53, 81, 95, 97, 164, 165 Nadiia Sydorenko and Dima Shneider p 160/161 Emily Marr p 20/21, 36-39, 85, 99, 116/117, 159, 162
Editors: Emily Marr Joep Vossebeld
Contact: theartistandtheothers.nl hello@theartistandthe others.nl cmunzartists.org Print run: 250 ISBN 9789090324463 September 2019 Copyrights The Artist and the Others and cmunzartists All texts and images are property of the authors