dôra araújo

“I will create a garden to live in because this world is getting very strange”, 2017

Cotton, polyester and beads

The work reflects on the passage of time, the evolving relationship between human beings and nature,

ester eva damen

“Een pink in de vrijheid (One Finger in Freedom)”, part II, 2024

Video HD, 15’

Damen’s grandmother was a farmer’s daughter who realised early on that the world extended far beyond the farm and her village.

Damen’s grandmother was a farmer’s daughter who understood early on that the world was bigger than the farm and her village. When her father had chosen a husband for her and would receive a plow as a gift at the wedding, she told him that he should marry the farmer himself. And that he should make sure he got the plow to go with it. Her own daughters had to get it better. Damen’s grandmother kicked off and her mother became breadwinner. Damen realizes that she is where she is today because of the dedication and stubbornness of these two generations of women.

farah widmer

“Placenta #69”, 2024

Grogged clay, manganese and iron washes, copper glazes; fired in reduction

The work is an abstract representation of a placenta. This temporary organ, responsible for transporting nutrients and waste between mother and child, also functions as a protective blood barrier. In this dual role—at once connecting and separating—Widmer sees the placenta as a potent symbol of porous boundaries. Her interest in its symbolism deepened after the death of her mother, prompting a reflection on the delicate thresholds between life, loss, and inheritance.

gabriela acha

“Mobile Exhibition Space”, 2018 / “Backpack for for immaterial heritage 2020,

Wood, leather, acrylic, glass, mirror and other materials

Feminist performance which deconstructs the idea of a gallery as a static place by a mobile exhibition space generated by cabinet backpacks. This work reflects on the underrepresentation of woman and minorities in artistic and historic institutions such as museums and galleries. By engaging with themes such as identity, equality, and collective memory, the work seeks to provoke thoughtful dialogue. Acha is particularly interested in how art can serve as a vehicle for empowerment and community building by inspiring a shared vision. THE MOBILE EXHIBITION SPACE has been performed on several occasions in cooperation with various institutions and artists. The set up was developed for the first time in 2020. Featured artists: Farah Rahman and Silvana Montecchiesi.

daniela steele

“Rose Ion”, 2018

Led neon flex

The installation uses flexible neon LED light to create an immersive and dynamic visual experience. The filament, arranged in an organic, flowing form, explores the interplay between light and movement—simultaneously suggesting stillness and motion. The work reflects on the nature of human perception, inviting viewers to consider how light and movement shape our sensory and emotional responses. Through this subtle choreography of form and illumination, the work transforms space into a living, visual experience.

adriana granado

“Subalternized Work Trilogy”, 2024

Videoperformance

Composed of the videos “Receptionist”, “Houdsekeeper” and “Elevator Attendant”, the artwork expands on the themes of the Manifesto Against Work, referencing the practice of American artist Mierle Laderman Ukeles, highlighting the invisibility and devaluation of those in subordinate roles. The works underscore that an art exhibition, for instance, cannot exist without the ongoing labor of cleaning, security, and front-of-house staff. This essential maintenance and care work is often shaped by a rigid division of labor along gender and class lines. Its financial and existential undervaluation reinforces an oppressive system. As feminist scholar Françoise Vergès argues, care and cleaning labor are not only indispensable—they are fundamental to sustaining patriarchy, racial hierarchies, and neoliberal capitalism.

andi steele

“That Feeling”, 2023

Forged steel and rivets

The sculpture is a wearable shield—a kind of cage one can step into. The wearer is enclosed within a structure, insulated from the outside world, yet physically constrained. This limitation hinders movement and interaction with the surrounding environment. The work can be experienced as both protective and restrictive. It becomes a tangible metaphor for daily life: the tension between feeling trapped by external forces and finding security within those very confines. Crafted from forged steel and assembled with rivets, the sculpture’s materiality conveys both strength and weight. Its visual and physical heaviness evokes power, but also a sense of oppression—a reminder that what is offered as protection often doubles as a form of restriction.

catarina garcía

“Corrida Pelo Ponto”, 2025

Fabric, thread, speaker

The hand-sewn fabric subtly shifts in color, evoking the trance-like state induced by repetitive labor. Sharp red lines pierce through, marking moments of violent awakening. The steady hum of a sewing machine is at times interrupted—falling silent or giving way to a voice that reveals the hidden toll of the work. The artist draws from her own family history to illuminate the quiet endurance of women in the Portuguese textile industry. Her mother, who began sewing as a child in her grandmother’s factory, was once known to stitch in her sleep—a haunting image of exhaustion, discipline, and silent resilience. By weaving personal memory into collective experience, Garcia pays tribute to the unspoken sacrifices of generations past, bringing visibility to lives shaped by labor and perseverance.

mayara ferrão

“Album of Deforgetfulness”, 2024

Mixed media on photo paper

ALBUM OF DEFORGETFULNESS offers a visual-poetic gesture of reparation for the absence of black and indigenous women in Brazil’s colonial historical archives. By creating a fictional, intimate and celebratory collection, the project reimagines erased memories of affection between black and indigenous women, stories excluded from the official narrative. Using analogue photography, artificial intelligence and image manipulation, artist Mayara Ferrão evokes their silenced presence by challenging the boundaries between fiction, memory and history. At its core, the act of ‘unarchiving’ becomes a political and creative force - one that opens pathways to imagine a future rooted in the strength of invisible, yet enduring ties.

dh mack

“Between People”, 2025

Glass etching, brushed aluminium and oil on canvas

The work explores the dynamics of human relationships—examining visibility and invisibility, connection and distance among individuals and groups within society. The work reflects on how we are positioned in relation to one another, both physically and metaphorically. Through the use of diverse materials and techniques—including etched glass, brushed aluminium, and oil on canvas—the installation investigates the layered nature of presence, perception, and social composition. Each medium offers a different lens on how we see, are seen, or remain unseen.

ellen tabea flieg gracia

“Motherknots, Daughterknots”, 2024

Video mp4, 7’12”

The work explores hair combing as a ritual within the female lineage. The usual division of roles is reversed: a daughter combs a mother’s hair, the mother combs the hair of an imaginary individual. Subtitles tell a personal story of hair combing as a torturous act in which appearance and beauty standards are more important than care, nurturing, and the protection of cultural identity. This reversed performative research triggers questions and feeds imagination. Knowledge handed down from generation to generation has brought about changes in the present that echo the past. This alters our perception of the meaning of hair combing.

ellen klijzing

“Les Petits Rats” 2024

Textile, plaster, acrylic

The Paris Opera in the 19th century was as much about art as it was about prostitution. To make the opera profitable, ‘le Foyer de la danse’ was established, an exclusive and sumptuously decorated backstage salon, where the wealthy ‘abonnés’, members of the elite consisting exclusively of aristocrats, enjoyed a kind of ‘droit de seigneur’ over the little dancers. At private parties in the salon, dancers were expected to provide sexual services. These young ballerinas were called Les Petits Rats, the little rats of the opera. Most of them came from poor and dieprived families, and the hope for a better future often rested on the shoulders of a daughter with dancing talent. Only a minority of these young dancers would become famous and earn a decent salary. The most famous of these girls was Marie Van Goethem. She was of Belgian descent and was the model for Degas’ beautiful statue of a 14-year-old dancer.

isadora jochims

“Secret” 2023

Video Performance, 7’47”

In art history, pregnancy is often portrayed in an idealised manner, focusing on the relationship between mother and child. There is little emphasis on the challenges and emotions a woman undergoes during gestation. The pregnant body - sacred yet public - lacks representation in its naked form. In SECRET, it is exposed. The video performance evokes the loneliness of navigating through bodily transition. Busy weaving its own cocoon, the body becomes trapped and imprisoned within itself. SECRET was created by the artist herself during her pregnancy. With an open top and giant needles/spears, it refers to the intrusion of social opinions and emotions. In dialogue with the work PASSAGEM (Passage) by Celeida Tostes, the artist enables her own rebirth from shared experience.

jasi pereira

“After the Water”, 2025 / “Claiming my Presence in the Space”, 2024

Ceramic + Register of performance

The series of ceramic together with the performance unfolds as a powerful convergence of elements and forms a multi sensory landscape, rich in texture. A succession of layers evokes memories and desires from the distant past and unlocks deep, ancestral experiences. It is as if a hidden superpower is awakened in those who engage with the work, making them understand the message at an intuitive level. At the heart of this work is the image of a house made of earth - a house of women. It is powerful, life-giving and radically inclusive, able to accommodate the whole range of human and more-than-human diversity. This earthen house is resilient, earthy and attuned to the present time; it is both a refuge and a presence. It becomes an icon of connection: a living bridge between all that lives.

helena kaori maeda

“Gaia” 2025

GAIA is the personification of Earth, the ancestral mother in the Greek mythology. Gaia symbolizes feminism and environmentalism quests. The mother of life embraces her egg, the core of our lives, protective, with reverence and caring love.

nell berger

“Archaeology of Oblivion”, 2025

performance with sand and linen

The achievements of women in numerous disciplines, past and present, have been systematically sidelined. Female role models have long remained out of the picture, and even today they are not fully acknowledged or appreciated. During the performance, the artist will write down texts by women such as Virginia Woolf, Joke Smit, Susan Sontag and herself, using sand on the floor. Visitors will walk over it and in doing so slowly erase what has just been written. ARCHAEOLOGY OF OBLIVION symbolizes disappearance, the gradual burying of what women have produced and contributed. Yet there is something hopeful in this gesture: a quiet perseverance, a reminder of what has already been achieved and the importance of continuing onward.

juliana notari

“Diva - Processing the Work”, 2024

Archive material, newspapers, drawings, photographs and video

Documentary installation composed of video, drawings, photographs, and newspaper articles documenting the creative process behind DIVA (2020), a work by Brazilian visual artist Juliana Notari. The video presents perspectives from both the artist and the workers involved in the construction, while the press clippings offer a broader view of the controversy the work sparked in Brazil and internationally. DIVA is a 33-square-meter sculpture made of cement and resin, located in the Zona da Mata, a region in Northeastern Brazil historically shaped by colonial extractivism, marked by the exploitation of both land and labor. The piece is widely regarded as the largest feminist land art sculpture in the world.

elisabeth van sandick

“A Walk in the Park”, 2021

Inkjet prints on fine art paper

In early 2021, the phrase ‘Text me when you get home’ was shared worldwide after the murder of Sarah Everard, a young woman from London who never made it home. Many women, Van Sandick included, carry everyday objects that, if needed, can serve as weapons: keys between fingers, a screwdriver under the car seat, deodorant as pepper spray. They provide a sense of security, or perhaps just an illusion of it. More than anything, they symbolise the constant alertness with which women move through public space. By portraying these objects, they become markers of an underlying tension. Are we safe, or not?

adriana granado

“Breastfeeding”, 2022

Videoperformance, 1’

The video unfolds in two scenes, both centered around the act of breastfeeding. However, instead of a child, the woman cradles two books: Contemporary Art: A Concise History by Michael Archer, and The Story of Art by E.H. Gombrich. Notably, the latter includes only a single mention of a woman artist. Through this gesture, the work challenges the patriarchal foundations of art history, questioning who is nurtured by these narratives—and who is left out.i

samurette (thérèse zoekende)

“Samurette’s Portrait Gallery of the Association of Revenge GirlFriends”, 2025

Prints on hoodies

Installation of five hoodies in different colors in a row, hanging freely at eye level in the exhibition space. The clothing acts as bearer of portraits by Samurette, and texts from the prominent members of ‘the Association of Revenge Friends’: Beatrix Kiddo, Lady Snowblood, Lilith, Seeräuber Jenny and Samurette. These women are symbols of resistance against oppression and containment. They free themselves with anger and strength. They are archetypal ‘Badass Women’ who challenge the ever-present taboo and fear of the powerful, rebellious and violent woman.

rika maja duevel

“Be True to Yourself”, 2021

Acrylic on canvas, wire and glue

Be True To Yourself responds to a question that many women are all too familiar with: When are you having children? It’s a question often asked as casually as one might comment on the weather, yet for many, it carries the weight of personal trauma, societal pressure, and the deeply private nature of reproductive choice. ‘As an introvert, I’ve have been asked this question more times than I can count, and it has always made me uncomfortable. This work is my visual response, a way of reclaiming space and expressing the complex emotions that such a question can provoke.’ The golden symbols featured in the piece are Norse Runes for fertility, anchoring the work in a language of ancient power and meaning.

neyde lantyer

“I am here”, 2021

Videoperformance, 3’28”

The migrant artist’s journey in her quest for internationalisation involves a set of obstacles that can lead to invisibility, exclusion and oblivion.

rucha kulkarni

“Maker Absent”, 2025

Fabrics, silk threads, black charcoal, painting and wood

In MAKER ABSENT, Rucha foregrounds female makers, often invisible within capitalist and patriarchal frameworks. Through semi-transparent quilted textiles layered over paintings, she evokes a haunting interplay of light and shadow - revealing wile obscuring. The work is a critique of the status of and devotion to beautiful handmade objects that are fetishized, while the women who produce them are nameless and invisible, reduced to production workers. It honors these makers by exposing the systematic denial of their existence. Rucha confronts viewers with the mutual contradictions of value, visibility and gender labor. This installation is both a tactile archive and a silent rebellion against the structures that hide the bodies behind the craft.

warmi küyen textile collective

“100 Butterflies For The Eradication of Gender Violence” 2025

Designed and embroidered by a female textile collective, this “Arpillera” displays over 120 butterflies, embroidered by more than 100 people during 16 political textile workshops. The Textile Collective held these workshops between November 2024 and March 2025 in several cities in the Netherlands to encourage reflection on, and action against gender-based violence worldwide. The Arpillera was inspired by two symbols of feminist resistance in the fight for fundamental equality and human rights: the Chilean arpillera, a political textile that emerged as an expression of resistance against the violent civil-military dictatorship of A. Pinochet (1973-1990), and the butterflies, in memory of the Mirabal sisters from the Dominican Republic, known as ‘the butterflies’, murdered during the military dictatorship of R. Trujillo (1930-1961).

gabriela acha

“Mobile Exhibition Space”, 2020

Performance

Feminist performance which deconstructs the idea of a gallery as a static place by a mobile exhibition space generated by cabinet backpacks. This work reflects on the underrepresentation of woman and minorities in artistic and historic institutions such as museums and galleries. By engaging with themes such as identity, equality, and collective memory, the work seeks to provoke thoughtful dialogue. Acha is particularly interested in how art can serve as a vehicle for empowerment and community building by inspiring a shared vision. THE MOBILE EXHIBITION SPACE has been performed on several occasions in cooperation with various institutions and artists. The set up was developed for the first time in 2020. Featured artists: Farah Rahman and Silvana Montecchiesi.i

sarah payton

“Speak this Yearning”, 2025

Coverall, reading table and conversations

I was struck by the depths of longing in many of us …The shared space and feeling of ‘yearning’ opens up the possibility of common ground… It seemed appropriate then to speak this yearning. - Bell Hooks 1991 SPEAK THIS YEARNING speak this yearning gathers three individual works that intersect tangentially around issues of care, power and social change. PERFORMING LOVE is a re-enactment of the late 1960s ‘Maintenance Art’ performances of Mierle Laderman Ukeles; The impossibility of maintaining a line is a conceptual work reflecting on effort, obstruction and desire; SPEAK THIS YEARNING explores the longing for community and the potential for moving toward the collective.

neyde lantyer

“Identity”, 2018

Print screen posters

The female body is not a neutral terrain; it is a contested site, inscribed by power, history, and ideology across geographies and historical periods. It stands as a living political archive: a site of exploited labor, suppressed memory, commodified beauty, and regulated agency and desire. In migration, it bears the scars of colonialism, capitalism, patriarchy, and racism, yet persists as a force of creation, insubordination, and future-making, where multiple structures of exclusion and control collide, and identity is continuously reconstituted through the struggle for recognition and belonging. The series of posters reflects on identity as an evolving construct, neither fixed nor finished, rather a dialogue between memory and transformation, origin and becoming, drawn forward by the promise of futures not yet lived.

patricia paixão

“15 Porns, 2 Rapes, 3 Assassinations”, 2024

Loop video, 1’30”

15 porns, 2 rapes, 3 assassinations, changes title every time a new image is added. The video is a collection of images cut from porn, horror, thriller and drama films. Viewing each image in its entirety is difficult due to the cropping and the speed at which the images appear. This makes the video a kind of ‘guessing game’, with each image possibly belonging to one of the three scenarios suggested in the title. This work reflects on the image construction of the female body within the border zone between eroticism, violence and the obliteration of the individual; a construction reinforced by pop culture and the porn industry.

sarah payton

“Performing Love (stairs)”, 2025

Performance, duration: 6 hours

PERFORMING LOVE (STAIRS) is a re-enactment of the late 1960s ‘Maintenance Art’ performances of Mierle Laderman Ukeles. The performance takes place at the stairway of the NDSM Fuse as part of the work SPEAK THIS YEARNING, by Sarah Payton. “I was struck by the depths of longing in many of us …The shared space and feeling of ‘yearning’ opens up the possibility of common ground… It seemed appropriate then to speak this yearning”, Bell Hooks 1991.

yasmin flores & chieko

Performance

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