Rotterdam is known for being the creative center of Holland: art is made there and then sold in Amsterdam. Especially people from Rotterdam seem to feel this way. Being a citizen of this vibrating portal city, I naturally agree. But unfortunately, sometimes you get disappointed here too.

Traditionally, the second weekend of September is the time for the festival ‘Wereld van Witte de With’. The street that lends the festival its name, is the stage for European art by young artists. To let art invade public space is the main statement, but walking down the street I find out that not much is happening. Maybe due to the cars driving up and down the street. Every former year, de Witte de Withstraat was closed off for traffic. This year, art and people are permitted on the walkway only. Maybe due to the overkill of prohibition signs and fences. Or maybe just because most of the artworks disappoint me.

written by Milou van Oene

Scattered around town are white bicycles with enormous wooden bouquets of flowers attached to them. Banksy bouquets, made by the art-mediators of Mothership. Was it really necessary to copy someone else’s work? But they are not the only copycats here. Under the name Kimberly Clark go Rotterdam based artists Iris van Dongen, Eveline van der Griendt and Ellemieke Schoenmaker. Normally, they undertake night-time campaigns which are reflected in photos and installations.

For the festival they commemorate W.P.: a 70s activist who started giving political activists texts on the walls of Amsterdam a literary-artistic sway. Now, Kimberly Clark (yes indeed, from the toilet paper) uses his vintage slogans on banners and posters to find out if his statements are still fresh today. Why not make your own statement?

On the corner of the street, Jeroen Jongeleen casually folds notes. He stuffed the trunk of his car with 200 million Euro, right there for everyone to grab: ‘Free Money for All’! A semi-nice gesture directed to the Dutch government, that is planning to cut the cultural sector exactly that amount of money short. The night before, he started wasting his money. People jumped in his car, started throwing notes in the air, dancing. At the end of the night, the street was filled with millions.

Still, he seems to be a little bit disappointed too. Not only because he had to hold the cleaning crew away from his artwork, but also because most of the involved artists seem to waste the opportunity to make a statement. I cannot do more than agree.

While sitting in front of Museum Boijmans Van Beuningen, something strikes my ears and eyes. Just behind me, two guys are trying to plant a very pointy golden foot in between the tiles of the walkway, to hold something yet unidentified. It looks like it is supposed to hold yet another sign. When they finally succeed, they leave. The golden foot still empty. Only later I realize I was witness to an intervention by Rotterdam artist Joost Goudriaan. We already know his Chesterfield Park Bench and Antique Walnut Litter bin, but for the festival he adds an extra touch of dignity to signs in the public space again. His sophisticated wooden walkway sign and another one in leather clash heavily with the ‘official’ banner hovering over the street, stating that drinking outside the fences will have consequences.

Also Swedish artist Michael Johansson lightens up the event. In between two buildings, he created an ingenious construction of colorful furniture that resembles the old-school game of Tetris. It is surprising, fun, yet impressive. Some other interesting projects are on display inside the galleries, cultural centers and exhibition spaces.

‘To All Tomorrows Parties’ at TENT for example. It excavates the thin line between art and performance; between the ‘right there before your eyes’ and the ephemeral. Abner Preis has set up a bloody clownesque mess. A cardboard piano floats in the air, while the viewers dressed up in red noses and colorful shirts watch the video. In front of the screen lie an empty bottle of whiskey, more cardboard stage props and puddles of blood: it is painful to pretend to be happy all the time. Especially in times like these.

Because of the contemporary cost cutting, cutting-edge exhibition spaces, post-academies and specialized workshops are turning into an endangered species. In the meantime, the whole art loving society is brainstorming on a solution. TENT hosts a series of lectures called ‘State of the Art’. Here the people who seem to care, talk about art and the near future. What can be done? But more importantly, what is being done already? Stop wining and start thinking clearly, seems to be the message. Whether an event like Wereld van Witte de With is the produce of a society in despair, or just a missed opportunity, I would like to leave open here.

Milou van Oene is the founder of the text office Ctrl Alt Delete and contributor for the international artist network No New Enemies.

visit the websites:
De Wereld van Witte de With Festival
TENT Rotterdam
Ctrl Alt Delete
More info on the artists you can find on No New Enemies