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

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

Annaleen Louwes

Annaleen Louwes (1959, Amsterdam)

Annaleen Louwes (1959)

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





Maurice Bogaert

Maurice Bogaert (Heerlen 1975)

Lives and works in Amsterdam. Bogaert studied at the Academy of Fine Arts (1997-1999) in Maastricht and got his master at the Piet Zwart Institute in 2001 in Rotterdam. 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.

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.

During her solo Blood Sugar in Cargo Kaersenhout has simultaneous exhibitions elsewhere:

> WOW Amsterdam ( - Guess who's coming to dinner too? (solo) until September 30th

> glHoltegaard, Holle (DK) ( Colonial Stories - Power and People (group) until December 30th

> Gallery Wilfried Lentz Rotterdam ( - Proud Rebels (solo) September 7th - November 5th

> De Hallen Haarlem ( - A Global Table (group) September 22nd - January 7th 2018


Blood Sugar

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 .

Introduction by Neske Beks at the opening of Blood Sugar

Opening Smoke and Mirrors, a project by Maurice Bogaert

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

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 during public events

Please note: Cargo will be CLOSED December 24, 2017–January 3, 2018.

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 Dantziger Bocht | Koivistokade it takes a 5 minutes walk to De Bonte Zwaan (

Legal status body Cargo in Context
Cargo in Context is a foundation, 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
Arno van Roosmalen, artistic director STROOM Den Haag
Lia Gieling, founder and producer | curator

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.

About Cargo in Context

Cargo in Context is the successor of Cargo, a non-profit project space, that was founded in 2001 on de Realiteit in new town Almere. After having made quite a detour via Rwanda, Cargo has now landed in de Houthaven in Amsterdam. With an attractive project space that is based 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 artist’s and creatives to nurture and launch their projects.

De Houthaven in Amsterdam is a typical pioneer’s area, perfectly fitting to the expertise of founder and producer Lia Gieling with all of her history carrying forth from projects in new towns like Almere (De Paviljoens), Nieuwegein, as an independent advisor and as curator in The National Art Gallery in Rwanda.

Only recently De Houthaven has been reinvented as a residential and a (creative) industrial area; its history as a huge 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 from that, where people from all walks of life will be able to live on or near the waterfront. Besides 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 was once easily unloaded.

From the 1st of September until the 31st of January Laura Bokhoven will be the intern at Cargo in Context.

Presentations and Public Program

Cargo in Context will not organise readymade art exhibitions, but has only site specific-projects on display. For this goal at least four times a year one or more artists will be invited, based on their existing body, so artists who witness a kind of responsibility towards society, to what is going on in the city, the country and in the world. 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 six to seven weeks. During this period Cargo will also organize a public program, which can vary from a performance, a lecture, a film or possibly an excursion.


Founder / artistic management / curator: Lia Gieling
From the 1st of September until the 31st of January Laura Bokhoven will be the intern at Cargo in Context.

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). 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.

Her most important achievements so far are her work at De Appel in Amsterdam as a project leader, as managing director of the Cultural Center of Twente University and Museum De Paviljoens in Almere, besides during 4 years she was teaching at the Rietveld Academy, 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.

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 the project space of Cargo in Context in Amsterdam Gieling wants to converge her expertise on all these fields as much as possible.

Cargo in Context has an ANBI Status

Cargo in Context is supported by the Mondriaan Foundation for the upcoming period (October 2017 - October 2018), while the Amsterdam Fund for the Arts (AFK) contributes generously to our Public Program of 2017.

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.

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

Private View: Sunday January 29th 4 - 6.30 pm

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:
Sunday 12.02 3.30 pm Merel Bem – On Doorkijken/ A Closer Look at Photography
Sunday 26.02 3.30 pm Zef Hemel – On his plea for Amsterdam as a metropolis
Sunday12.03 3.30 pm De Gebouwengids – a walking tour through De Houthaven

Film Crew:
Director + Photographer: Annaleen Louwes
Camera: Josje van Erkel, NSC
Assistant director: Froukje de Jong
Camera-assistant: Eveline Haverlag,
Production Team: Muike Leeuwenberg, Lidewij Kapteijn and Oscar Kneppers
Special Effects: Joost Meeuwig icw Robert Groenendijk, Prima-de-Luxe
Editors : Annaleen Louwes with Froukje de Jong
Sound: Arthur Wagenaar


Annaleen Louwes

Une histoire: le miel aux lèvres

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

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

Interviews with different people who witnessed this transformation, constitute the foundation for his research. These interviews will be included in 4 languages (Fon, French, Dutch and English) in an artist’s book, which takes a central part in Oussou’s space-filling installation Une histoire: le miel aux lèvres.


Thierry Oussou

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, of them who survived and did not survive the crossing of the Atlantic Ocean. At the same time as her installation is on view in Cargo, Patricia Kaersenhout participates in a group show Colonial Stories, Power and people in Museum Holtegaard in Holle (DK). As there are many historical similarities between the Netherlands and Denmark regarding the slave trade, there is a webcam connection between both venues.

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: esaays 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

Jennifer Tosch, Lia Gieling, Giovanni Finisie, Patricia Kaersenhout

Public program Patricia Kaersenhout - Boat trip by Black Heritage Tours

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

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 was in 2015-2016 a resident at de Rijksakademie in Amsterdam. He participated in the Dakar  Biennal (2014) and nominated for the Koninklijke Prijs voor Schilderkunst (2016). He took part in several groupshows and had solo’s in Benin, Danmark, Bruxelles, Capetown and Amsterdam.


Une histoire: le miel aux lèvres

Pjotr Muller: Una giornata particulare, installation in and outside Cargo Almere 2004

Club Cargo

As a non-profit initiative Cargo also will guarantee a qualified public program, which Cargo can realise with the support of a reliable membership file. For the amount of € 25 a year one can be a member of Club Cargo. Of course gold card keepers (for more money) are also greatly welcome. Members can attend the public programs for free and will get a reduction on possible use of the space.

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

Yeh join the Club, be one of already more than 50 other Cargo-members!

Smoke and Mirrors

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

With 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.

Thierry Oussou in de Houthaven


Cargo asks artists who develop their project here to create a work of art in a limited edition. This work offers a unique opportunity to be the owner of a fine work of art at an affordable price. Both the artist and Cargo work on non profit lines. With such a purchase both parties feel themselves supported.

Annaleen Louwes

© Annaleen Louwes

From the filmic triptych DUSK of Annaleen Louwes stills will be for sale on demand in various measurements; prices vary from €600-€1.250 excluding 6% VAT. If you are interested in one or more of these works please contact Cargo! Mail to:

Patricia Kaersenhout

© Patricia Kaersenhout

On the occasion of her project Blood Sugar Patricia Kaersenhout made this riso-print in an edition of 25 copies. This is a still from the documentary Amsterdam, Traces of Sugar (2017) by Ida Does (camera: Jurgen Lisse; montage: 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.

Opening Smoke and Mirrors 10-11-2017

Presentations & Public Program

Opening Smoke and Mirrors, a project by Maurice Bogaert.

Public Program around Smoke and Mirrors, a project by Maurice Bogaert.

When: During The Amsterdam Art Weekend Saturday November 25th and Sunday November 26th
What: Saturday at 3 pm Artist Talk with Maurice Bogaert and Edwin Zwakman; moderator: Lilet Breddels (Archis);
Sunday at 3 pm Listening walk developed and guided by Soundtrackcity

Artist talk Visual artists Maurice Bogaert en Edwin Zwakman talk about their own and each others work. Both artists use scale models as an important source of inspiration. The models that they translate and applicate lead to quite different visual results. In the discussion they will explain their differences. Architecture expert Lilet Breddels (Archis) will act as a moderator.

Listening walk by Soundtrackcity

Sunday November 26th at 3 pm Soundtrackcity guides the audience through de Houthaven. Along the way we will discuss what artists can contribute to a 'well sounding city'. Usually people talk about sound in the city as a nuisance, something that should be suppressed. Soundtrackcity proposes a different approach. They argue that sound should not be seen as a residual product, but as an immaterial building block of the city. Therefore we should learn to listen differently to the urban sounds. This listening walk through de Houthaven offers a fantastic upbeat. It might open a new attitude towards the urban sound. How does Amsterdam sound for the strollers? What do they hear in de Houthaven? Especially within the field of the visual arts ideas for a new way of listening are unveiled.

Admission: Artist talk free; Listening walk € 5 | € 2,50 (students, artists, etcet); reservations are needed!

Sunday 17.12 - 3 PM Lecture by Christiaan Fruneaux, Monnik, Studio for futures and fiction.

After an Artist’s talk and a Listening walk during the Amsterdam Art Weekend, Cargo’s next guest will be MONNIK, Studio for futures and fiction. Next Sunday December 17th Christiaan Fruneaux will state the principles of the so-called World Tree Model (WTM) with which various future scenarios regarding urban growth and culture can be developed.

The WTM is a historical-futuristic model, but also includes a contemporary interpretation of the (early) Modern Time. The main threads are the demographical, economical and cultural forces shaping our society. With the help of these forces different scenarios can be developed in various constellations. Keywords in Fruneaux’ lecture are amongst others: gentrification, abundance, scarcity, shrinkage and growth, economic inequality, creative and smart city, global hipster culture, future-thinking, inclusivity and sustainability.

Reservation via
Admission: no fee

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

Deuce (working title)

Sunday, April 8, 2018 -

From April 8th Naro Snackey will present her project in Cargo in Context.