Friday, March 29, 2019 - Saturday, April 20, 2019

Image: Balta

Balta (1958, Marseille, France)

For graphic designer/visual artist Balta (pseudonym for Anne-marie Durand) who is born in France and living in the Netherlands, issues like mother tongue, manners, habits et cetera cannot just be taken for granted. This personal perspective produces a new view of the self and of the world. After all, naming things differently, also means looking at these things or somebody differently. Driven by a fascination by language, cultural identity and its dynamics, Balta creates works with various layers of meaning. Her work investigates influences that play a role in cultural identity.

Lost paradise: from Utopia to Dystopia

Balta shows a pilot in Cargo in which she explores the tenability of cultural identity. She got inspired by the weird history of the island Tahiti, since 1880 as French Polynesia under French protectorate. She argues that this is a perfect example of how a cultural identity can be manipulated by external influences. In 1768 the French thought to have discovered an earthly paradise. This so called Tahitian myth, a western male Utopia, originated by the particular generosity to early visitors by offering them young virgins. Visual artist Paul Gauguin among many others made abundantly use of this mythe. Until today Tahiti has been redesigned as a sun-drenched paradise for mass tourism. Therefore the island has been consciously transformed into a tourist theme park. At the other side of the ‘heavenly spectrum’ from 1966-1996 France has executed many nuclear tests with devastating consequences for the entire region.

Balta’s recent artist book ‘Misunderstandings’ functions as point of departure for her presentation in Cargo. Based on the history and language of Tahiti, Balta depicts with various means the topical subject of cultural identity and transformation that takes place everywhere.

Balta lives and works in Amersfoort (NL)

Pjotr Muller: Una giornata particulare, installation in and outside Cargo (1), de Realiteit in Almere 2004

Joanneke Meester and 4 other artists

Benjamin Li

Marieke Zwart

Nina Glockner

Césare Pietroiusti

Joanneke Meester

Joanneke Meester tagging a building for the project Je Verdient Het

Artist Joanneke Meester (1966) may be called a linguistic virtuoso or even literally ‘master of language’. Always drawing on situations or emotions from her own life, she manages to touch upon highly universal and/or actual themes. Over the past ten years she has developed her very own visual language in numerous locations both in and outside in the Netherlands, by using ‘manually applied tape’, which makes her work similar in some ways  to graffiti. Meester’s texts have the same anarchic quality, or at least something bold or ironic, and by crossing the boundaries they implicitly comment on the political or social status quo.

The difference with graffiti is that her work is certainly no street art. Her projects are almost always tied to a specific place or space, to which Meester makes herself subservient.

Until the first of September Joanneke Meester shows her newest work: Het is maar hoe je het bekijkt at Advocatenkantoor Kennedy & Van der Laan. Admission: free.


Je Verdient Het

A day of reflection in Cargo about development of theories by and for teachers of Gerrit Rietveld Academie.

Fragment of "Une histoire: le miel aux lèvres" by Thierry Oussou. Photography: Gert Jan van Rooij

Une histoire: le miel aux lèvres

Saturday, April 1, 2017 - Sunday, May 21, 2017

Interdisciplinary artist Oussou developed for Cargo a language laboratory, in which he focuses on the authenticity and impact of colonization on a native language and identity. He comes out with evidence for his assumption that the original meaning of many words and expressions have got lost by it. He uses the current transformation of the Houthaven (Lumber ort) as a metaphor for this assumption.

Interviews with different people who witnessed this transformation, constitute the foundation for his research. These interviews are included in 4 languages (Fon, French, Dutch and English) in a space filling artist’s book, that reads like Une histoire: le miel aux lèvres.


Thierry Oussou


Friday, April 6, 2018 - Sunday, May 27, 2018

DEUCE by Naro Snackey

Click here to see the trailer of the project Naro Snackey has realized i.c.w. Paulien Oltheten

Because of her bi-cultural background multimedia artist Naro Snackey is fascinated by the personal history of Indonesians of Dutch descent (Indo’s). In DEUCE she explores the double identity of many so-called Indo’s as the result of a past of colonization and migration with which they have never really come to terms. She focuses on their personal stories and their systematic neglect in the canon of Dutch history.

In DEUCE Snackey juxtaposes this individual experience and the dominating ‘national myth’. In her space-filling installation she tries to reconcile the opposites and claims attention for these (mostly suppressed) stories.

During the first public program Basje Boer performed a poetic column, inspired by Snackey's DEUCE. You can read the column here (in Dutch).

DEUCE has been realized with the financial support of the Mondriaan Fund

Marieke Zwart

Push/Fall/Repeat, 2017 nr 3 of Lithographic series (of 6)

Marieke Zwart is an artist based in Amsterdam. In her work she explores spaces of contact, through a practice that is based on drawing and video works. Her works are built from socially engaged practices, reflecting on art historical and relational issues. She is interested in social definitions of empowerment and independency, the Dutch colonial past and personal narratives in relation to society.


Je Verdient Het

Panelists and members of the public continue the discussion about political agency and the role of art and artists in raising awareness, over a hard-earned glass of wine.

Friday, March 8, 2019 - Saturday, March 23, 2019

Image: Rearrangement of Priorities #2

A Rainbow Soulclub cocktail of politics, painting, poetry and coconuts.
The Rainbow Soulclub is a collective of individuals, that operates from the Blaka Watra walk-in centre of the Regenboog Groep, an Amsterdam-based organization that is committed to helping the homeless and drug addicts. The Rainbow Soulclub was founded in 2005 by visual artists Saskia Janssen and George Korsmit, who with the Rainbow Soulclub orchestrate weekly encounters and collaborations between artists, art students and Blaka Watra’s clients. Over the last 14 years these encounters have spawned a whole diversity of activities: painting, writing, publishing, drawing, pottery, recording music, making costumes, launching campaigns, staging exhibitions, and even travelling to Ghana and Suriname.

Under the title Rearrangement of Priorities #2, the Rainbow Soulclub is serving up in Cargo its latest cocktail of politics, painting, poetry and coconuts for you.

Smoke and Mirrors

Friday, November 10, 2017 - Saturday, December 23, 2017

With his project Smoke and Mirrors, Maurice Bogaert (Heerlen, 1975) reflects on the sprawling city and the craziness on the housing market. The installation consists of a so called Pepper’s Ghost, a 19th century analogue invention which creates, by means of light and glass plates, the illusion of an apparition. The space-filling Pepper's Ghost in Cargo, aims at a total experience and also serves as a 'projector' in which reality and megalomanic future visions on the city tumble over one and another. Together with the public program, Bogaert demonstrates the utopian, fantastic sci-fi thinking about the metropolis.

During the finissage visual artist and art critic Basje Boer performed a column, written by her and inspired by Bogaert’s project. You can read it here in Dutch.

Waving flags: Cargo is open!

Jennifer Tosch, Lia Gieling, Giovanni Finisie, Patricia Kaersenhout

A new destination for the sugar cones

Maroccan woman with one of the remaining sugar cones.

While dismantling the exhibition Blood Sugar, two Moroccan women happened to pass by. They stopped and gazed at us as they saw us discussing what to do with the remaining sugar cones which were an essential part of Patricia Kaersenhout's installation. What a coincidence by making these women of all people happy with the cones as so we had come full circle. During her research into sugar production and trade Patricia found out that the sugar cones as she has used them in Blood Sugar, originally are from Marocco. Since the 17th century they produce and store sugar in such cones. Via Spain and Portugal this traditional way of storing sugar they found their way to the Carribean. The raw sugar brought back to Europe sugar bakeries for centuries sugar bakeries sold them in these cones. As the Maroccan community in Amsterdam still sticks to this tradition it is a very pleasant thought to feast the women with the remaining cones .

Cargo in Context

Cargo in Context
Haparandadam 7-b8,
1013 AK Amsterdam
The Netherlands
m: +31 (0)6 21439157



Business hours

Thursdays - Fridays 12.00 – 5.00 pm
Saturdays 1.30 - 5.30 pm
Sundays only during public events 1.30 - 5.30 pm

Cargo is accessible with own transport; one can easily find a (paid) parking place; free parking on Sundays! The parkingcode is 18409.
0 From Amsterdam Central Station in front of the Victoria Hotel one will find bus 48, which brings you to de Houthaven; from bus stop Danziger Bocht | Koivistokade it takes a 5 minutes walk to De Bonte Zwaan (

Legal status body Cargo in Context
Cargo in Context is a foundation, with ANBI-status, registered at the Kamer van Koophandel Amsterdam, under number 52096939

Paul ’t Hart, professor Public Administration Utrecht University (chair)
Marjolijn Bronkhuyzen, department manager marketing EYE Film Museum Amsterdam (member)
Joseefke Brabander, faculty director Academy for Architecture and Urban planning (treasurer)
Lia Gieling, founder | curator (secretary)

DUSK by Annaleen Louwes

Wednesday, February 1, 2017 - Sunday, March 19, 2017

DUSK © Annaleen Louwes 2017

DUSK by Annaleen Louwes
February 1st – March 19th 2017

Annaleen Louwes
Those who are already familiar with the work of Annaleen Louwes will associate her with probing portraits of vulnerable people: psychiatric patients, prisoners or just people she has come across. Louwes’s patient eye highlights their extreme vulnerability with their inner beauty. Without any personal judgement she therefore invests them with self-esteem and emphasises the human condition implicitly in her work.

From Photography to Film
Without forsaking her customary patience and preciseness, Louwes shows at Cargo a surprising cinematic triptych, that can be seen as an exciting new direction for her body of work. To be better versed in the phenomenon of cinematography, Louwes asked the cinematographer Josje van Erkel to work with her on Dusk and experience the difference of working with moving images as opposed to still ones.

Louwes sees the ephemeral character of De Houthaven as a metaphor for Dusk. The newly reclaimed land looks like a desert with its horizon split by a multiplicity of cranes. The first building has begun and soon the first occupants will move in. The port is also a hive of activity : ships load and unload their goods and then sail off the next day to a fresh destination.

Louwes observes and registers all these movements, but also reveals a hidden world invisible to the ordinary spectator. She uses De Houthaven as the stage for composing her atmospheric triptych, that leads to a sequence of images in which for the first time she experiments with the elapsing of time.

Public programme around Dusk:
1. Merel Bem – On Doorkijken/ A Closer Look at Photography
2. pm Zef Hemel – plea for Amsterdam as a metropolis
3. De Gebouwengids – a walking tour through De Houthaven

Film Crew:
Director: Annaleen Louwes
Camera: Josje van Erkel, NSC
Sound: Arthur Wagenaar


Annaleen Louwes

Fernweh #1

Natascha Libbert

Natascha Libbert (1973)

Libbert volgde een late roeping toen zij – bijna 30 jaar oud - besloot haar baan als accountmanager op te zeggen en naar de akademie in Den Haag te gaan. Haar opleiding Fotografie combineerde zij met haar werk als stewardess. Libbert studeerde In 2009 af en is sinds 2014 full time fotograaf; zij opdrachten af met haar vrije werk.

Zij werkte onder meer voor de ING Kunst Collectie, de Rijksdienst voor Cultureel Erfgoed, NGO Marie-Stella Maris, diverse musea en voor advocatenkantoor Kennedy & Van der Laan. Een van haar laatste opdrachten kreeg zij van de Provincie Noord Holland, voor wie zij de vermaarde sluizen in IJmuiden vastlegde, die aan vervanging toe waren. Deze opdracht resulteerde in Libbert’s persoonlijke zoektocht door de wereld van de scheepvaart, die vastlegde in haar recent verschenen boek Looking for a ship. (uitgeverij: The Eriskay Connection).

Het werk van Libbert gaat veelal over ogenschijnlijk lege, onschuldige ruimtes, maar waar de sporen die mensen erin achterlieten op subtiele wijze door haar voelbaar worden gemaakt. Voor Cargo werkt zij momenteel aan een project over de grond waarop wij leven.

Natascha Libbert woont en werkt in Amsterdam

Boat tour Black Heritage Tours | Public Program Patricia Kaersenhout's Blood Sugar

Blood Sugar

Friday, September 1, 2017 - Sunday, October 22, 2017

Blood Sugar by Patricia Kaersenhout

Blood Sugar

About Patricia Kaersenhout (1966)

Important themes in the body of work of visual artist and culture activist Patricia Kaersenhout are colonialism and slavery and its nasty consequences for many generations. On the one hand to speak out loud on behalf of so many people who dealt and still deal with its consequences and on the other hand because Caribbean tradition plays an important role. The history of ancestors has been transmitted via the body and so also Kaersenhout carries these embodied memories with her. For her giving way to these emotions in her work, is an outstanding way to give back the dignity to her ancestors that once has been taken away so merciless.

Patricia accepted Cargo’s invitation to develop a new work about that heavily ignored part of Dutch slavery history. During her research time and again she came across the Dutch production of sugar and its trade and respectively on sugar in relationship with slavery. It became clear to her that since the 16th century the Netherlands enriched themself at the expense of so many lifes of slave mades.

Concise history of sugar and slavery

Since the Spanish blockade of the river Schelde in 1585, the gradually booming sugar trade moved from Belgium up to the north, where Amsterdam merchants invested with great enthusiasm in this profitable market. The Dutch proved out to be pioneers in the production and trade of sugar across the Atlantic Ocean. The West-Indian Company, founded in 1621, took over from the Portuguese the most rich sugar plantations in Brazil. These served for many years as a model for other Caribbean plantations. When the native plant labourers died massively due to the miserable working and living conditions, the colonisers changed their tack. Because the demand for sugar seemed endless, they made slaves of people from Western Africa and shipped them via Europe to the Caribbean to have them worked on the sugar plantations.

The migration of labour and capital across the Atlantic Ocean is as interrelated with the production of sugar as the history of the Atlantic trade is interrelated with slavery. To put it less mildly: the sugar industry was one of the pillars of the new Atlantic economy.

Sugar and blood

DNA-tests on remnants of bones proved out that the slave mades had to work so inhumanly hard, that their muscles came loose from their bones. With girls their period stayed away and they did not grow older than 24 years. The sugar mills grinded non stop and the slave mades got barely 3 hours of rest a day. After the sugar cane had been cut down, it had to be put through the wringer manually. It often happened that their limbs were trapped in that wringer. Feared to lose too much time those limbs were cut off with an axe by one of the slave drivers. It dos not need more comment that also blood and sugar are very much interrelated.

Sugar bakeries

The sugar was sold by so called sugar cones, made in the sugar bakery, of which the first had been erected in Amsterdam in 1593 while in the middle of 17th century already 66 were active.

In those days the Republic produced more than the half of European sugar: it processed more than 35 million pounds of raw sugar. By its tropical origin sugar was not cheap at all and its luxurious character was emphasized by the import duties charged by most provinces. Nevertheless, by its booming production sugar became within reach for many more consumers. Sugar could be regarded as one of the first forms of mass consumption.

Amsterdam and sugar

Between 1741 and1744 many slave ships left from the Reublic to Suriname. Besides from Walcheren, then also from the port of Amsterdam, which in those days was located next to the current Maritime museum. Many many years later - without scruples - the street names near Westerdoksdijk are named after these former slave ships. The river IJ, the ships used to navigate, interconnects the emotionally charged history of the Westerdok, de Houthaven and Kattenburg. The Trans Atlantic Slave Trade database concluded with their investigations that on these ships a total of 14.606 Africans were captured, of whom 13.153 reached Suriname, where they were sold as slaves. At least 1.453 persons did not survive the crossing.

Blood Sugar

Kaersenhout offers Cargo’s visitors food for thought and exercises their imagination as she pictures slavery and its on going consequences in a most probing way. The series of bloodshot sugar cones in the project space stands for centuries of suffering. On one of the walls we become aware of the names of slave mades who purchased freedomjust in time befor crossing of the Atlantic Ocean.

Mind: This description is a short version of Patricia Kaersenhout’s project plan for Cargo.


* Elizabeth Stutton, Bittersweet: Sugar, slavery and science in the Dutch Suriname; Midwestern Arcadia: essays in honour of Alison Kettering (2015);

* Candice Goucher, Charles LeGuin, and Linda Walton, Commerce and Change: The Creation of a Global Economy and the Expansion of Europe, in In the Balance: Themes in Global History (Boston: McGraw-Hill, 1998), 491–508;

* Elmer Kolfin, Een lenticular van de Slavernij. Verschuivende perspectieven in de verbeelding van slavernij: van Frans Post tot Patricia Kaersenhout; essay in: de kleine geschiedenis van de slavernij; pp 13-34; eds Annet Zondervan e.a. Podium 2003;

* Kathryn Hughes on Kara Walker’s Sugar Baby;

* Sidney W. Mintz; Sweetness and Power. The place of sugar in modern history; Piguin books New York 1986;

* Het Amsterdams Gemeentearchief.

Read the opening performance by Neske Beks

With special thanks to Almeva, Almere


Patricia Kaersenhout

Opening Smoke and Mirrors 10-11-2017

Je Verdient Het

Friday, June 15, 2018 - Sunday, July 29, 2018

Review Parool, Verdient Het by Joanneke Meester, 2018

Je Verdient Het was a recurring text image of visual artist Joanneke Meester in the public space around Cargo. This work by Meester was tagged on various facades in the Houthaven and the Spaarndammerbuurt. Both neighbourhoods are developed complementary to each other in terms of functions - living, working, shopping and doing business - by the urban planners. In the past few years, Meester acquired notoriety with her meaningful text images, of which the content gives the spectators food for thought. In and outside the Cargo project space, Benjamin Li and Marieke Zwart were reacting on her one liner with a new work. Nina Glockner and Césare Pietroiusti were showing existing work.

In the projectspace the process of the project will be shown in the form of a stop-motion video, made by Luc Schraauwers (

Je Verdient Het has been made possible with the help of AFK (Amsterdam Fonds voor de Kunst) and Kunstwerk Loods6.

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Public program Patricia Kaersenhout - Boat trip by Black Heritage Tours

Thierry Oussou

Het Remeiland, architecture in transition: from oil rig and radio station to a restaurant. Polaroid by Thierry Oussou for Une Histoire

Visual artist Thierry Oussou (Benin, 1988) started as a selftaught artist. He worked as an assistant for artists like Ernest Houngbo, Barthélemy Toguo and Meshac Gaba. Over the years he gradually developed himself as an interdisciplinairy artist. He researches and analyses the causes and effects of disappearing traditions and also gives subtle suggestions how to be aware of alienation and ways to conserve cultural heritage. Although he often starts from themes, which refer to his homeland of Benin, his critical questions can be understood in a global perspective.

After several short residencies in Western Africa and Europe Oussou, de Rijksakademie in Amsterdam and Lago, Nigeria. He participated in the Dakar Biennal (2014) and and Berlin Biennal (2018) and in 2016 he was nominated for the Koninklijke Prijs voor Schilderkunst. He took part in several groupshows and had solo’s in Benin, Danmark, Bruxelles, Capetown and Amsterdam.


Une histoire: le miel aux lèvres

Césare Pietroiusti

Césare Pietroiusti, source photo:

Césare Pietroiusti (1956, Rome, Italy) lives and works in Rome. Because of his education in Psychology, he chose to devote his early works to the social psychology of relations in art. At the same time, the artist embarked on different social projects, which he considered not so much as separate endeavours but as a part of his oeuvre.

In recent years Pietroiusti has been focused on the economic dimension of art, namely, on the role of money as an artwork equivalent, a warrant of its value and/or the author’s signature. Cargo in Context will show photos and videos documenting one of these projects called: Money Watching.

Money Watching is an intervention and took place at Spui 25, Amsterdam in 2016. Visitors participated in a money watching exercise in which members of the public were asked to concentrate on notes of 10,20 and 50 euros. Only when Pietroiusti was convinced that enough attention had been focused on the note, the participant could claim it. It provokes feelings of shame, discomfort and maybe even anger. That awareness is exactly the intention of the project.


Je Verdient Het

Opening Smoke and Mirrors, a project by Maurice Bogaert

Presentations & Public Programme

Public Programme during Fernweh: Stretching the boundaries of Photography; moderator: Lilet Breddels

When a project in Cargo is on display we organize a public programme existing from a lecture, a screening, workshop, performance or whatever what will gain more in-depth knowlegde about the artists and their projects.

Status Cargo

Name: Cargo in Context

Fiscal number: 850298696

Bank account: NL76TRIO0197956173

Legal status Cargo in Context
Cargo in Context is a foundation, registered at de Kamer van Koophandel Amsterdam under number 52096939

Address: Haparandadam 7b8, 1013 AK Amsterdam - w: - e: - m: +31 6 21439157

Board: Paul 't Hart, professor of Public Administration Utrecht University (chair), Marjolijn Bronkhuyzen, department manager Marketing, Communication and Events, EYE Film Museum Amsterdam (member), Joseefke Brabander, Faculty director Academy for Architecture and Urbanism Amsterdam (treasurer) and founder Lia Gieling (secretary).

Aim: On a regularly basis Cargo in Context invites artists to develop an art project with specific public interests. With such projects Cargo aims to contribute to the social debate and the role of art and artists in it. While the projects are on display, Cargo also organizes a public program, which can vary from a performance, a lecture, a screening up to an excursion.

Day-to-day management: founder and curator Lia Gieling, is charged with the day to day management and is completely unsalaried. Most of the tim assisted by an intern.

Opening hours: Wednesdays - Fridays noon - 5 pm | Saturdays - Sundays: 1.30 -5.30 pm

Policy Plan

1. Cargo in Context is the successor of Cargo, a non-project space , that was founded in 2001 on de Realiteit in new town Almere. After having made quite a detour via Rwanda, since October 2016 Cargo has landed in de Houthaven in Amsterdam.With an attractive project space that is based in De Bonte Zwaan (the multi coloured swan), a former ship for the shipper's exchange, which in the last 10 years has become a vital new area for artists and creatives to nurture and launch their projects.

De houthaven is a typical pioneer's area, perfectly fitting to the expertise of founder and producer Lia Gieling with all of her history carrying forth in new towns like Almere (Museum De Paviljoens), Nieuwegein (intendant new city center) and as a curator in The National Art Gallery in Rwanda. De Houthaven is in the process of being reinvented as a residential and a (creative) industrial area: its history as a huge area at the waterfront makes it an inspiring neighbourhood. At a place where once ships were coming and going for trade, gradually a new area arises, where people from (almost) all walks of life will be able to live on or near the waterfront. De Bonte Zwaan is located at the border of Het IJ and the North sea Channel, which can be seen as a significant metaphor for a site where cargo from all over the world easily can be unloaded.

Cargo in Context has only site specific projects on display. For this goal about four times a year one or more artists at the time will be invited, based on their existing body of works, who witness a kind of responsibility towards society, to what is going on in the city, the country and in the world. Cargo aims to contribute to the social debate and the role of art and artists in it. The results will be on display during 6 to 7 weeks and will be accessible for free. During this period Cargo also organizes a public program, which can vary from a performance, a lecture, a film, up to an excursion.

3. Finances

Foundation CiC has started with a working capital, gained by private donations, subsidies and some crowd funding. So we were able to adapt the project space, to develop the graphic design, web site et cetera. But this capital also enables Cargo to guarantee a modest buget to the artists to realise their projects and presentations.

Third flow of sums Cargo aims to interest institutes, companies and private persons for her activities. By them she will be able to gain an extra source of revenues f.i. special guidances, workshops and rental of the project space to art related initiators.

Since Januariy1st 2016 Cargo has obtained the so called ANBI-status, so for donators and Club Cargo members donations i.c. memberships will be tax-deductible.

About founder + producer Lia Gieling Since 1982 Lia Gieling plays along with the Dutch art world. Her academic background includes theatre sciences (MA) and art history (BA). During her entire career she has focussed at a interdisciplinary approach. Beauty certainly is an important condition for the projects she has realised so far in collaboration with as many as various artists, but is not the quintessence according to her. Her point of departure is determined by well reflected and research based art projects, which concern closely to relevant social issues.

Gieling's most important achievements so far are her work at De Appel in Amsterdam as a project leader, as managing director both of the Cultural Center of Twente University and Museum De Paviljoens in Almere. Besides teaching 4 years at the Rietveld Academy, she was the founder and curator of Cargo in Almere, advisor and intendant of various Dutch cities (Almere, Apeldoorn, Enschede and Nieuwegein) focussed in particular on art in public space. Recently she worked about 4 years as a curator at the National Art Gallery in Rwanda. Since her come back from 2014-2017 she was advisor of the Mondriaan Foundation.

During her career Gieling always has stressed on the specific characteristics of the spot she was working for originally inspired by the artistic policy with site specific project of De Appel in former days. At twente University the combination of art, (technical) science sand and society seemed a fruitful source for her, while new towns like Almere (and later on Nieuwegein) had her focussed at urbanism, public domain and new nature. Recently the post-conflict- and post-colonial situation in Rwanda has embraced her a lot. In Cargo's project space Gieling intends to converge her expertise on all these fields as much as possible.

Cargo's Activities 2017: annual report and acounts will soon be published

Introduction by Neske Beks at the opening of Blood Sugar

Friday, September 21, 2018 - Sunday, November 4, 2018

Overview Fernweh - # photography: Aatjan Renders

In 2018 Cargo has been invited to be part of the City Program of UNSEEN, for which we invited Dutch photographer Annaleen Louwes to develop a new project. With FERNWEH Louwes explored the human condition by mixing up both old and new work, photography and film. With this mixture she tried to create an atmosphere of mortality, ambiguity and temporality. By doing this Louwes tended to discover an unexpected relationship between the old and the new.

During the launching September 14th film critic and novelist Basje Boer performed her third live column for Cargo, inspired by Louwes' latest project. You can read the column here (in Dutch).


The realisation of Fernweh is financially supported by the Dutch Mondriaan Fonds

Invitation Fernweh, a project by Annaleen Louwes

Annaleen Louwes

Impression of the audience during the conversation Stretching the boundaries of Photography, moderated by Lilet Breddels

Annaleen Louwes (Amsterdam, 1959) 

 Fernweh is a second project for Cargo by Annaleen Louwens. After Dusk in 2016 her latest project has been launched September 21 during UNSEEN-2018. Fernweh stands for the longing for the unknown. Louwes' point of departure was the recent passing away of her father and the questions this raised to her. She explored her internal relationship between the existential darkness and lightness and that of the world around her.

Starting from her fascination with the human condition Louwes mixed old and new work, photograpy and film. By doing so she wanted to create an atmosphere of ambiguity, transience and uncertainty. By both delving her own archives and creating new work Louwes tried to unveil an unexpected reality.

Fernweh was financially supported by the Mondriaan Fonds

A conversation about DUSK between Annaleen Louwes and Lilet Breddels*

LB: Let us think back to how it all started. Cargo invited you to make a new work and then?

AL: First the founder, Lia Gieling, had asked me to realise the first project in her new space. I felt honoured by that, but in a follow up she said: ‘it should have something to do with de Houthaven’. At first I recoiled at this, because to me it feels like you have to satisfy an explicit expectation. I do have a personal connection with the harbour as my father was a teacher at the school for bargees, but as a photographer working with themes is not really my business. 

Nevertheless I quickly realised I should make the project my own and started thinking quite fast about how I could make space to align the project with my own interests. So I imagined the commission by Cargo in terms of being like an ‘artist in residence’. Time was short, but that gave the project momentum. Meanwhile I had already been flirting for quite some time with ‘film’ as a new discipline. It is an old desire, which I always thought I was lacking the brains for, but all of a sudden I decided to link my desire with this project. So I wrote a plan for it and just in time the Mondriaan Fund decided to support it financially- this, as you can imagine, this felt quite pleasant!I started endless bike rides through the area, especially the new area of desert-like reclaimed land and that part of the port where the inland barges are moored. I also had talks with the skippers and went poking around with the construction workers. 

I soon found out that I had an enormous deal of opportunities, possibilities and ideas for the project. But it came down to the fact nobody was really there. The skippers sailed away, the residents were working elsewhere by day and the construction workers were too busy to deal with me all the time. So I decided to use the area as the scene for my own thoughts. One of my students who saw DUSK commented in a very special way; ‘it is the promise of a narrative’. And that is exactly what it is. I have often initiated things, I made beginnings. In that way the scenes can be viewed like finger exercises.  Before we started filming I already had selected the images I wanted to shoot, as I had planned to work with the cinematographer Josje van Erkel and I had to make clear to her what I wanted to (be) see(n). I often work quite intuitively, but how do you verbalise that? When I look through the lens of my own camera, I mostly know what I want or what I should do, but I am also free to change my mind. But now I had to let it go. This was often really very hard work, but it also felt somehow luxurious.  If I had done the filming with the camera myself I would have faced other problems. Josje really did a good job and with her way of looking she has given me a lot. Working in this way, I have collected my material from a very small piece of the area I had selected. I wanted to work with very little light and definitely no sunlight. I also knew that it should be shot in black and white. 

LB:Working in black and white you anticipated editing it yourself? 

AL: Yes, so it was under my own control, because with colour correction it would have been much more complicated, although editing a triptych was quite a difficult job as well. And I knew it definitely should be a triptych. A diptych is too binary, because everything would be contrasting?. Everything reacts to one and another. But the process of making begins during the editing, it is like the collection of impressions that composes a piece of music. The first three weeks I experimented and trained myself, as if I were learning to play a piece for piano. It was like playing small parts all the time, collecting and conserving them. You still do not really know them or where they belong exactly; however you should learn them very well. Nobody else can do this for you. This is also the big difference with the real world of film. People think quite differently; time is money so there is no room for hesitating or intuition during the shooting. This process reminded me of the diary of Wim Wenders, who was asked to supervise Antonioni in completing a series of films towards the end of his life. The diary reveals a fantastic glimpse behind the scenes of the chaotic way in which Antonioni worked. When he arrived on set in the morning, he even still did not know what he wanted to film that very day. These kind of stories are like balm for me. 

LB: What kind of work did you create according to yourself? 

AL: Officially I reflected on the transformation of de Houthaven. Another official version could be: I have made a cinematographic triptych. But I think that I made an impressionistic piece……… but be aware: DUSK is not a film, not a video, nor photography. That’s why I like the designation of cinematographic so much. But regarding the content I still struggle to explain what it really is. It is so completely different from making a series of portraits, like I made recently in New York. But in the loneliness of some characters some other things recur.  For me the images or cut outs are quite familiar. They fit quite well within my work as a photographer. I used film to enter another world, a sort of inner world. Some images are related to my own images that I carry on for quite some time. Other images I consider like found footage on the spot, which I used like glue to edit the inner world. But yeah- what kind of work did I actually create? Could you call it a composition? Here, have a look at my sketchbook. This is the mood board with detailed images as I invented them. Maybe it is a collection or series of still lives. 

LB: The role as a film director differs a lot from being a photographer. You have to master a complex process with many more people. Do you like that role? 

AL: I did not feel any qualms about that role. But during the shooting I also had quite tough production tasks as well, which caused some chaos once in a while. But at the end the result was there and after all that, yes I can say I like being a director. But I still do not know if I will delegate the film camera shooting aspect in the near future or do the cinematography all by myself. During the making of DUSK I felt quite insecure about it, especially regarding the technical issues. For instance I would not have known if the camera rental house had delivered the right camera, and I worried that I might push the wrong button during the stress of a shoot. Since my first experience with DUSK, I think I can now be much more relaxed about these kinds of problems. I really counted my blessings with Josje van Erkel being on my side. Her way of working differs a lot from my own; she is much more positive in making decisions. She just says: ‘no you should do it like this or that, or you should take that lens. I am inclined to doubt, while being busy in the process. But now I think that if I stick to a small-scale project I would be able do it myself, and I have to try this in the future.

LB: What kind of dream is making films? Is it the narrative, is it the moving image or is there something else? 

AL: Yes I think it is the moving image in film that attracts me. It often occurs to me that when my photography is ready, being framed and on display in an exhibition, that I do not feel the need anymore to have a look at it. It has just been completed. With film I notice I can have a very long look at a moving image. It is like I am studying it and every image includes a promise which is far from being redeemed. But for sure it is also that narrative aspect that counts, like I feel the need to tell my stories in a much more commanding way. As a photographer I, I want never take up s particular  position, I want to create multiple images without intending to present just one single truth. In my point of view there is never security, nor certainty. That is what fascinates me. According to me, this also has to do with claiming the truth for one’s self. I really have problems with this, also because I think with photography that an image belongs to the people who are portrayed in it and thus it is not mine. In the case of DUSK, because I did not shoot the images myself, I had that same feeling with Josje van Erkel, wondering ‘who owns this image actually?’ 

LB: While starting with DUSK making a film used to be a dream; does it taste moreish now? 

AL: Yes definitely. I am now very busy with other projects and preparing an exhibition in Museum het Dolhuys in Haarlem. But it triggers my mind a lot and besides, I have now made a film, I can bow out on this production!

February 24th 2017

Lilet Breddels is director of Archis , platform for debate and reflection on the city

English: Will Boase





View on Fernweh; image: Aatjan Renders

Nina Glockner

Nina Glockner studied philosophy in Berlin, visual art in Groningen and Istanbul and received her MFA at the Sandberg Institute in Amsterdam. Her work has been shown during festivals and in exhibitions in the Netherlands, Japan, Germany and Brazil. She is a guest lecturer at art academies in Ghent, Amsterdam and Zurich and currently works as a research assistant at the Faculty of Media Theory at the University of Applied Arts in Vienna.


Je Verdient Het

Finissage Je Verdient Het

Benjamin Li

Benjamin's handmade 'fortune money': 10000 BL

Different forms of identity, cultural heritage, integration and sense of home are important themes in the work of Benjamin Li. He finds inspiration in everyday life, social media and personal events. Li’s work functions as a mirror, making use of stereotypes and existing misunderstandings.


Je Verdient Het

About Cargo in Context

Introduction to our website: Cargo's-website is a newspaper alike with images that move every other second to a different item; so scrolling through the site is like a kind of explorative expedition. You should follow the categories indicated above to find your way in the current programme and the archives.

Some facts about Cargo in Context

Cargo in Context is a resumption of Cargo, a non-profit project space that was founded in 2001 on de Realiteit in new-town Almere. After founder Lia Gieling had made quite a detour via Rwanda, since October 2016 Cargo has landed in de Houthaven in Amsterdam. Specifally in de Bonte Zwaan (the Multicoloured Swan), a former ship for the shipper’s exchange, which in the last 10 years has become a vital new area for artists and other creatives to nurture and launch their projects.

De Houthaven in Amsterdam is a typical pioneer’s area, perfectly fitting to the expertise of initiator Lia Gieling with all of her history carrying forth from projects in new towns like Almere (Museum De Paviljoens and Cargo) and in Nieuwegein. In Rwanda she was curator in The National Art Gallery.

Only recently De Houthaven has been reinvented as a residential area; its history as a huge lumber port at the waterfront makes it a very inspiring neighbourhood. Where once ships from all over the world were coming here for trade, gradually a new area has been constructed, where people from all walks of life are able to live on or near the waterfront. Besides De Bonte Zwaan is located at the border of the river Het IJ and the North Sea Channel, which can be seen as a significant metaphor for a site where cargo from all over the world can be easily unloaded.

Presentations and Public Programme

Cargo mostly has site specific projects on display. On a regular basis one or more artists are invited especially who deal with urgent matters in their work. With these projects Cargo aims to contribute to the social debate and the role of art and artists in it. The result will be on display in Cargo for several weeks. At the time a project is on display, Cargo also organizes a public programme, which can vary from a performance, a lecture, a film to an excursion.

Management: Lia Gieling

About founder Lia Gieling

Since 1982 Lia Gieling plays along with the Dutch art world. Her academic background includes theatre sciences (MA) and art history (BA). Beauty certainly is an important condition for the projects she has realised so far, but according to her this is certainly not the quintessence. Cargo's point of departure is determined by research based art projects. During her career Gieling always has stressed on the specific characteristics of the spot she was working for. In former days the site specific projects of De Appel. At Twente University the combination of technics, art and and society seemed a fruitful source for her, while new towns like Almere (and later on Nieuwegein) had her focussed at urbanism, public domain and new nature. Recently the post-conflict- and post-colonial situation in Rwanda has embraced her a lot. In Cargo Gieling aims to converge her expertise on all these fields as much as possible.

Financial aspects

Cargo in Context has an ANBI Status

Annual Account 2016

Annual Account 2017

Cirkel by Basje Boer live column (2)

Patricia Kaersenhout

© Aatjan Renders

Patricia Kaersenhout (1966)

Visual artist/cultural activist/womanist

Born in The Netherlands out of Surinamese parents, Patricia Kaersenhout since many years embarked on an artistic journey, in which she researches the impact and consequences of the invisibility of the African diaspora and colonialism in relation to her education in a West-European culture. In her work she questions the political changes within the current African diaspora in relationship to feminism, gender, racism and the history of slavery.

Proud Rebels (2015) is a project about de first black feministic wave that took place in the eighties in Amsterdam. The Mondriaan Fund awarded her project for Blueprints for forgotten souls (2015), a research project that was related to one of her ancestors, the only black man who is buried in the Oude Kerk in Amsterdam. Currently Patricia works in a community project in the Bos en Lommer neighbourhood in Amsterdam, titled Guess who’s coming to dinner too?, in which she honours 36 forgotten black women of great merit. It is her critical reaction on Judy Chicago’s famous Dinner party (1979) to which only white women were invited.

Patricia Kaersenhout has exhibitions both in The Netherlands and abroad. She lectures on a regular base about her work in relation to de-colonial theory and she has been appointed at the de-colonial summer school in Middelburg. At the Willem de Kooning Academy in Rotterdam she has taught Global Arts and Social Practice. She now supervises students with their final exams at the HKU in Utrecht. Since 2014 she is adviser of the Mondriaan Fund.


Blood Sugar

Thierry Oussou exploring de Houthaven

Club Cargo

Audience for Nina Glockner's performance during closing time of Fernweh November 4th

As a non-profit space we have founded Club Cargo. For an amount of € 25 a year one can be a supportive member of it. Of course gold card keepers (for more money) are also greatly welcome. Members will get special attention.

One can subscribe by transferring € 25 to Cargo’s bank account NL76TRIO0197956173, stating ‘membership Club Cargo’.

Yeh join the Club by joining over more than 50 other Cargo-members!

Installation view of Blood Sugar by Patricia Kaersenhout © Aatjan Renders

Pupils of Bride School Spaarndammerhout with Thierry Oussou, visiting the exhibition and attending the workshop with the artist.

Undermined (working title)

Friday, June 14, 2019 - Saturday, July 27, 2019

Undermined op Cyprus

Natascha Libbert (1973)

Libbert followed a late vocation when she – almost 30 years old - decided to quit her job as an account manager to go to the Royal Academy of the Arts (KABK) for studying photography. While studying she worked as a flight attendant to earn her living. Libbert finished her studies in 2009 and since 2014 she is a full time photographer, alternating commissions with free work.

Libbert worked amongst others for the ING Kunst Collectie, the Ministry of Cultural Heritage, NGO Stella Maris, various museums and for law firm Kennedy & Van der Laan. One of her last commissions she realised for the Province of Noord Holland, for whom she pictured the famous locks in the port of IJmuiden, in the process of being replaced. This commission resulted in Libbert’s personal search for the world of shipping which she fixated in her recently published book I went Looking for a ship (publisher: The Eriskay Connection). Libbert’s work mostly deals about apparently looking empty, innocent spaces, in which human tracks are put delicately by her.

Libbert lives and works in Amsterdam

Maurice Bogaert

Maurice Bogaert (Heerlen 1975)

Lives and works in Amsterdam. Bogaert studied at the Academy of Fine Arts in Maastricht and got his master at the Piet Zwart Institute in Rotterdam in 2001. In recent years Bogaert has developed a series of works in which he included media like architecture, film, texts and fine arts. This mostly resulted in a kind of total experience for the audience. His works vary from extremely monumental walk through installations to tiny scale models. In their own way all his works are efforts to translate camera movements and editing to the physical space. Bogaert participated in many shows ans has had a residency in China and shortly he will be so in het Pomphemaal in Den Helder.

Naro Snackey

For Naro Snackey (Bonn, 1980) her own history forms the thread in her work. She is Indian-Dutch and was born in Germany, but raised in the Netherlands. Her work is about memories and identity questions and usually comes about in an associative and intuitive way. Although her work is reflective, she does not want to judge. Want to know more about Naro Snackey and her work? You can visit her website or read this article on Metropolis M.



Lecture by Christiaan Fruneaux co-founder of Monnik, studio for futures and fiction


Cargo asks artists who develop their projects to create a work of art in a limited edition. Such offers a unique opportunity to be the owner of a piece of art for an affordable price. Both the artist and Cargo work on non profit lines. With a purchase you support both parties.

Annaleen Louwes

© Annaleen Louwes

of DUSK (2017) by Annaleen Louwes stills are still available on demand in various measurements;

of Fernweh (2018) by Annaleen Louwes an edition of 10 there

Patricia Kaersenhout

© Patricia Kaersenhout

On the occasion of her project Blood Sugar Patricia Kaersenhout made this riso-print in an edition of 20 copies. This is a still from the documentary Amsterdam, Traces of Sugar (2017) by Ida Does (camera: Jurgen Lisse; editing: Cam Does). Price = € 125, = wihout and with frame € 175, = excl. 6 % VAT

Maurice Bogaert

© Maurice Bogaert

On the occasion of his project Smoke and Mirrors Maurice Bogaert made this print, called Repoussoir [2017], in an edition of 15 copies. Price: € 125 incl. frame excl. 6 % VAT.

Naro Snackey

© Naro Snackey

On the occasion of her project DEUCE, Naro Snackey made this print.

Titel: Ancestor portrait and ceremonial crown
Medium: Digital print on aquarel
Size: 210 bij 297 mm (A4)
Edition: 8
Price: € 120 incl. lijst excl. 6 % BTW.

Joanneke Meester

© Joanneke Meester

On the occasion of her project Je Verdient Het, Joanneke Meester made this print and 7 other unique prints.

Je Verdient Het
Unique print A4
210 x 297 mm (A4)
Edition 8
€ 125 incl. frame excl. 6 % VAT.

Marieke Zwart

© Marieke Zwart

On the occasion Je Verdient Het Joanneke Meester made this print.

Scenes from the Kletskop
Unieke print A4
Oplage 6
€ 120 excl. frame: € 20 excl. 6 % VAT.

Benjamin Li

© Benjamin Li

On the occasion of Je Verdient Het Benjamin Li made this flag. It comes together with a note of his handmade "luck-money".

I Won
Flag, nylon 50 x 70 cm
Edition 10
€ 30 excl. 6 % VAT.

Thierry Oussou in conversation with Bart Luirink on April 9th.

Thierry Oussou working on his installation "Une histoire: le miel aux lèvres" at Cargo.