The core team
Amalia Calderón is a poet, artistic researcher and part-time witch. In 2014, she received her BA in Law and Sociology at the University of Warwick with a thesis on posthuman rights. She then pursued an MSc in Sociology at the University of Amsterdam (UvA), specialising in gender and sexuality with a thesis on storytelling and migrant sexual narratives of European womxn. In 2020, and while also working with the ‘Gift Science Archive’ project, she served as an assistant to Anik Fournier in the library of If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution. Her time with If I Can’t Dance resulted in the collaborative publication, ‘The Witch & The Siren: Deviant Archival Cosmologies’, co-edited with Naomi Collier Broms. Also in 2020, Calderón co-designed and co-coordinated ‘Posthumans in the Anthropocene’, an interdisciplinary bachelor/master course with the Institute for Interdisciplinary Studies at UvA. The course resulted in the symposium ‘Posthuman Futures: Art & Literature’ and, from that, a special issue collaboration with ‘Soapbox’ journal. Calderón is currently finishing a second thesis, now in Artistic Research, titled ‘The Monstrous Femme Legal Storytelling: an archival-poetic performance’. Calderón’s thinking has recently appeared across a variety of platforms, including: in conversations organised by If I Can’t Dance (for their Radio Emma special on Performance and Research) and by neue Gesellschaft für bildende Kunst for their ‘Networks of Care’ series (together with Megan Hoetger); in the installation ‘The Monstrous Femme Legal Archive’ at Nieuw Dakota; and in publications such as Kunstlicht, Simulacrum and with the ‘Gift Science Archive’ in the Rijksakademie van beeldende kunsten 150-year anniversary publication. Calderón is also a member of Netherlands Institute of Cultural Analysis (NICA), and head of the activism committee at UvA’s Vegan Student Association. At the core of her research, Calderón envisions the poet as a legislator of the stories we tell ourselves at night and don’t speak of in the morning.
Radna Rumping is a writer, curator and editor based in Amsterdam. Her work is embedded in music culture, contemporary art (and all its herstories), communality, experience of public space and conditions of (in)visibility. She has realised exhibitions and public gatherings at a variety of spaces, stimulating new encounters between bodies and buildings, artists and audiences. Although she spends most of her time in silence, sound, radio and music have an ongoing influence. In the early 00s Rumping was mainly active as a music journalist and DJ. The practice of remixing, but also giving ‘shoutouts’ (when specific listeners, locations and communities are mentioned on the radio) is still present in the way she constructs essays, lectures and programmes. From 2010–20 she hosted the music radio show ‘Future Vintage’ at Red Light Radio (with Reinier Klok). In 2015 she co-founded the online radio platform Ja Ja Ja Nee Nee Nee (with Arif Kornweitz), as a space for artistic broadcasting experiments. A period of reflection and research at Van Eyck in Maastricht (2016–17) led to a shift in her practice, amalgamating the position of curator, artist and editor. This resulted in hybrid audio and text-based works that have been presented at various exhibitions. Her writing reflects on contemporary culture and society, where she rearranges histories and voices to let them coexist, rubbing off on each other. Here she aims to be both observer and participant, and act simultaneously as subject and object. Sands Murray-Wassink and Rumping started to collaborate in 2016, when they met through their mutual friend Maria Guggenbichler, on the occasion of the exhibition ‘Things to Remember (Page Not Found)’ curated by Rumping. Since then, Murray-Wassink and Rumping stayed in conversation and relation. Currently she curates the performance series ‘Come Closer’ at Oude Kerk and advises the City of Amsterdam on art in public space as a member of the Stadscuratorium. In 2020 she founded mistral, a space for making constellations (with Huib Haye van der Werf). Her texts are available at sofarsoreal.net.
Megan Hoetger is a historian and hard femme. She holds a PhD in Performance Studies with specialisations in Critical Theory and Film Studies from the University of California, Berkeley. Since 2019, she is a curator with If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution where she works in long-term collaboration with artists and researchers to develop performance productions spanning print media, digital and physical spaces. From 2018–19 she was Visiting Researcher in the Centre for Cinema and Media Studies, Ghent University and Research Fellow in the Archiv der Avantgarden at the Staatliche Kunstsammlungen, Dresden. In Ghent, Hoetger began work towards the project ‘Performing Internationalism, Rendering Security’, which unfolds the film festival form’s dialectical performativity in the construction of a Western European liberal democratic international world vision. Alongside that, in Dresden, she undertook preliminary research towards ‘Curating and Kinship’, examining screening events organised by female filmmakers on both sides of the ‘Iron Curtain’. Hoetger is currently completing her first book manuscript, ‘Rude & Playful Shadows: Screens, Sites and Social Reproduction in the Underground Cinema of Cold War Europe, a portion of which appears in the essay “Art/Obscenity/Underground Cinema in West Germany, 1968–1972” (‘In and Out of View: Art and the Dynamics of Circulation, Suppression and Censorship’, Bloomsbury, 2021). She also works in several collaborative configurations. As a founding member of Zone Collective, she works together with cultural practitioner Kirila Cvetkovska on a variety of projects, ranging from research installations and participatory workshops to sound recordings and screening events, which explore historical and contemporary systems of ‘awarded autonomy’ in European cultural economic policy—from 2021–22, Hoetger represented the Zone Collective in the BAK Fellowship for Situated Practice programme. As a founding member of Disco Comradeship, she thinks together with art historian Carlos Kong about the relations between film, urban space, club cultures and political conceptions of comradeship in socialist and post-socialist Europe; in 2021–22 they co-lead the workshop ‘Archiving Club Cultures’ at the Haus der Kulturen der Welt, Berlin.
Other contributors and collaborators on the project
Conversation partner, ‘Process Event #2: RELATIONSHIPS’
Co-curator, ‘Without You I’m Nothing (Blue)’
Interlocutor, ‘Process Event #3: COLLABORATION’
Curator, ‘I am not American (I love Adrian, I miss Carolee, I follow Hannah)’
Huib Haye van der Werf
Co-curator, ‘In Good Company (Horsepower): Materials from the Gift Science Archive, 1993–present’
Transcriber and translator, ‘Meta-Archive Transcripts’
Structural support at the Rijksakademie
Designer, ‘Meta-Archive Transcripts’
Structural support at the Rijksakademie
Marcel van den Berg
Database and website development, ‘giftsciencearchive.net’
Vivian van Saaze
Conversation partner, ‘Process Event #1: VALUE’