Sarah Züst

Rotterdam NL / Zürich CH

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...this land swallows white men...

Wild Seed written by Octavia Butler

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speel - Zwart als roet, the English version - Our Colonial Hangover

Our Colonial Hangover analyzes the debate surrounding the racist component of the Dutch Black Pete character. Although the debate always heats up around the time of the Saint Nicholas celebrations every December, it reached an unprecedented level of ferocity in 2013. Black Pete is the black-faced assistant to that generous friend of children Saint Nicholas. Is this helper an insulting, racist stereotype, or is he part of an innocent tradition that should not be tampered with? Last year, opponents and supporters faced off, the Amsterdam city council held a hearing, a judge got involved, a United Nations work group published its assessment of the matter, and social media ripped open this can of worms. It all begs the question of just how tolerant the Netherlands is. Director Sunny Bergman’s personal search brings to light unconscious prejudices, everyday racism and the legacy of the Dutch colonial past. She visits London dressed as Black Pete, where her appearance provokes intense reactions. She also looks closer to home, engaging in personal conversation with friends and exposing the phenomenon of white privilege in her own social circle. Meanwhile, the authorities are attempting to calm frayed tempers by coming up with typically Dutch compromise solutions, including Petes in alternative colors and without earrings.

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Ich wünsche, nicht länger zu verstehen - den die Logik und die Art die Dinge zu sehen, ist nicht die meine.

s

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Kodwo Eshun - The Last Angel of History

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Untitled Untitled Untitled Untitled. Hundreds of thousands of female figures of every race in Western art are titled simply “Untitled.” Double that number are named “Anonymous.” One could write the word “Untitled” repeatedly on a piece of paper every day for the next hundred years without stopping, and you’d never reach the end of female namelessness.

BROKEN, DEFACED, UNSEEN: THE HIDDEN BLACK FEMALE FIGURES OF WESTERN ART. - If you look closely enough, you’ll find that museums are invisible graveyards. By Robin Coste Lewis ,Nov.12, 2016 http://www.newyorker.com/books/page-turner/broken-defaced-unseen-the-hidden-black-female-figures-of-western-art

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A Spell to Bind Straight White Men from Profiting off of Queer Aesthetics and Feminine Abjection - Linda Stupart http://lindastupart.net/

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Still I Rise

Maya Angelou, 1928 - 2014

You may write me down in history With your bitter, twisted lies, You may trod me in the very dirt But still, like dust, I’ll rise.

Does my sassiness upset you? Why are you beset with gloom? ‘Cause I walk like I’ve got oil wells Pumping in my living room.

Just like moons and like suns, With the certainty of tides, Just like hopes springing high, Still I’ll rise.

Did you want to see me broken? Bowed head and lowered eyes? Shoulders falling down like teardrops, Weakened by my soulful cries?

Does my haughtiness offend you? Don’t you take it awful hard ‘Cause I laugh like I’ve got gold mines Diggin’ in my own backyard.

You may shoot me with your words, You may cut me with your eyes, You may kill me with your hatefulness, But still, like air, I’ll rise.

Does my sexiness upset you? Does it come as a surprise That I dance like I’ve got diamonds At the meeting of my thighs?

Out of the huts of history’s shame I rise Up from a past that’s rooted in pain I rise I’m a black ocean, leaping and wide, Welling and swelling I bear in the tide.

Leaving behind nights of terror and fear I rise Into a daybreak that’s wondrously clear I rise Bringing the gifts that my ancestors gave, I am the dream and the hope of the slave. I rise I rise I rise.

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...wat exactly guarantees for us - but also what convinces us - that physical laws will still be valid in the next moment, since neither experience nor logic can give us such an assurance.

Quentin Meillassoux, Science Fiction and Extro-Science Fiction

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Thursday NIght at Het Nieuwe Instituut

Femke Snelting reads the Biovision Hierarchy Standard Femke Snelting reads computer code from a cyberfeminist perspective, noting the cultural assumptions and blind spots behind the programming. With the audience she will read the BioVision Hierarchy standard for motion capture. What assumptions about the human body does it conceal? What effect do these have when movement is translated into code? 24/11/2016 20:00 – 22:00 Het Nieuwe Instituut, Rotterdam NL