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Zet je lievelingsnummer aan en maak zolang het nummer duurt een tekening over je gevoel

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Kritische vragen:
- Vertrouw jij alles wat je op het internet ziet?
- Laat jij je beïnvloeden door wat je ziet op het internet?
- Hoe 'real' ben jij online?

Opdracht:
Creëer een online beeld waarbij je twijfel opwekt bij de toeschouwer over de echtheid.

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Hoe toon jij je emoties? Verbeeldt deze emotie in een sculptuur.

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Post iets beschamends op social media dat je normaal niet zou posten.

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Zoek in je galerij naar de meest random foto van jezelf. Creëer een nieuwe getekende situatie waarin je deze afbeelding zou kunnen plaatsen.

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Geef 5 vreemde mensen die je op straat tegenkomt een compliment.

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Maak van bestaande voorwerpen een 18+ versie. Bedenk hier vervolgens een televisie spot voor.

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Geef jezelf een compliment door gebruik te maken van de collagetechniek.

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Wat maakt jou tot jouw identiteit? Beeld dit uit in een levend standbeeld.

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Het is belangrijk dat je lief bent voor jezelf, ontwerp daarom een ode aan jezelf. Maak hierbij gebruik van selfies uit de galerij van je telefoon.

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Het aangeven van je wensen en grenzen in belangrijk. Maak een online werk waarbij je een grens aangeeft.

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opdracht:
Ontwerp een poster die de wereld bewust maakt van het probleem catcalling.

REO:
https://www.reddit.com/r/thenetherlands/comments/hpyu0r/hey_schatje_voel_je_je_aangesproken/

Bron 1:
https://www.instagram.com/dearcatcallers/

Bron 2:
https://www.noordhollandsdagblad.nl/cnt/dmf20211110_90459187?utm_source=google&utm_medium=organic

Bron 3:
https://www.youtube.com/watch?v=m6IigF126hc

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’Hey, vuile nicht’. Ik ben niet je nicht dus hou je kop dicht. Alkmaar start postercampagne en meldpunt tegen straatintimidatie

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’Hey, vuile nicht’; ’Psssst schatje’ en ’Wow lekkere billen’. Overal in Alkmaar zie je ze: roze posters met opmerkingen die slachtoffers van straatintimidatie naar het hoofd geslingerd krijgen.

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Ontwerp ‘de mens’ op een nieuwe manier.

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Bereid een levend sculptuur voor over wat liefde betekent voor jou. Je maakt zelf deel uit van het sculptuur.

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Bereid een levend sculptuur voor over wat liefde betekent voor jou

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opdracht:
(create awareness) Maak een performace art/installatie/fotoserie van dingen in het dagelijks leven die de grens tussen mannen en vrouwen benadrukken/versterken.

REO:
https://www.instagram.com/p/CU4apyZIZFQ/
" Waarom Regenwormen? Omdat Regenwormen Op Elk Moment Van Elke Dag Zonder Zorgen Kunnen Kiezen Of Ze Vrouw Of Man Zijn Want Ze Hebben Beide Geslachtsorganen. De Regenworm, Daar Kunnen Wij Mensen Nog Eindeloos Veel Van Leren."

Bron 1:
https://www.youtube.com/watch?v=hQ7DwHO5ol8

Bron 2:
https://yushi.li/My-Tinder-Boys

Bron 3:
https://www.instagram.com/michaelastark/?igshid=YmMyMTA2M2Y%3D

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Verzin een nieuw product waar jij meer zelfvertrouwen van zou krijgen.

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Verzin een product waar jij meer zelfvertrouwen van zou krijgen

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http://francescannonart.com/mango

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MANGO

Tinning Street Gallery, 2019
Wait until the mango is ripe before you eat it Don't plunge your fingers into its flesh Don't lick the juices from your fingertips Don't plunge your fingers into your flesh Don't lick the juices from your fingertips Wait until you're ripe before you eat the (Mango) comprises of a series of photographs and an animation exploring the concept of eating a mango as a metaphor for sexual desire. The artist uses taboo imagery and symbolism to reclaim their repressed queer sexuality, celebrate their body and glorify sexual pleasure.

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Tinning Street Gallery, 2019 Wait until the mango is ripe before you eat it Don't plunge your fingers into its flesh Don't lick the juices from your fingertips Don't plunge your fingers into your flesh Don't lick the juices from your fingertips Wait until you're ripe before you eat the (Mango) comprises of a series of photographs and an animation exploring the concept of eating a mango as a metaphor for sexual desire.

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Opdracht: Ontwerp een spandoek voor de "iedereen mag zichzelf zijn!" campagne. Werk in groepjes en kom samen tot een mooi resultaat.

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Opdarcht: Als je je even in een andere wereld mocht wanen, hoe zou die wereld er dan uit zien? Ontwerp deze wereld.

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Opdracht:
Maak een drieluik van videostills/screenshots van scoial media/tv die ‘the (male) gaze ‘ laten zien.

bron 1:
- https://yushi.li/Paintings-Dreams-and-Love

bron 2:
- https://aestheticamagazine.com/pushing-the-gaze/
- https://annalaudel.gallery/exhibitions/lennart-brede-may-6-july-16-2022-dusseldorf/

bron 3: hier 1 van?
- https://www.sleek-mag.com/article/female-gaze-photography/

REO:
Birds of Prey v.s. Suicide squad (films)

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-Schrijf een gezicht over identiteit
-Maak een futuristische baby
-Maak een sculptuur van een ongewenste ervaring
-Schrijf een activistische quote

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About — Ziqianqian

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Ziqian Liu,
Independent Photographer.

Born in 1990 in China, graduated from the University of Technology Sydney in 2015, started photography in 2018, based in Shanghai.

All of her work is a self-portrait. In her work, she combines her body, plants, and mirror images, constantly exploring the balanced state of peaceful coexistence between humans and nature. In terms of visual presentation, she is keen to create quiet images with a sense of rigor and order. Her works intentionally rarely show her face because she wants the viewer to imagine that the body in the picture can be anyone. Different viewers will have different perceptions of her works, which is what she finds most interesting and exciting about photography.

There are two main themes in Ziqian's work. The first theme is about the symbiosis between human beings and nature. To some extent, it can be said that human beings and the rest of the natural world are equal - we live in the same world, breathing the same air, mutual tolerance. In her work she tries to find a state of harmony between humans and nature, full of peace and emotion, because, in this state of symbiosis, beauty will be most embodied.

The second theme is about perspective. Things we are familiar with often remain in a fixed image, but what she is trying to convey through her work is to look at the same thing from different angles to disclose different findings. This is not only for things but also for understanding others and our hearts.

On the other hand, her deepest desire is for symmetry and perfect order, both in the appearance of things and in the patterns of human interaction, but this is too idealistic, after all, society is not balanced, some imperfections make it real. In her work, the image in the mirror represents the idealized world she wishes to live in, and the integration with the outside is just a reminder to respect and recognize the imbalance in the real world, but also to adhere to the order and principles of our hearts.

In her work, she wishes to give the audience a small world that is calm but not flat. She wants to show women outside their soft and delicate and inner strength. This is one of her expectations. One reason she chooses self-portrait is because it is the best way for her to communicate with herself and to get to know herself better.

The other reason is that she wishes to slow down time, to integrate herself with the things around her, to discover and observe their changes, which is why flowers and fruits became derivative parts of her body in her works. Nowadays, the pace of people's life is getting faster and faster, and the surrounding environment is always very noisy, so it is easy to ignore the small details around and the true feelings in the heart. In her opinion, fusion is acceptance. To be able to perceive and recognize the subtle changes in things around us is to accept the new self.

Exhibitions：

Paris, 17-18-19 May 2019 Ethereal: A Daily Poetry ・international photo expo

Hong kong，29 March to 28 April 2019, Exhibition of Photography in Reality and Instagram Continuum

London&Rome, 30th of July 2020, House of the Rising Light, Dorothy Circus Gallery

Los Angeles, 18th of December 2020, Women.On.Women, Galerie XII

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Born in 1990 in China, graduated from the University of Technology Sydney in 2015, started photography in 2018, based in Shanghai. All of her work is a self-portrait. In her work, she combines her body, plants, and mirror images, constantly exploring the balanced state of peaceful coexistence between humans and nature.

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https://www.instagram.com/theimtiredproject/

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Documenteer iets waarin jij mensen om toestemming vraagt

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Documenteer iets waarin jij mensen om toestemming vraagt

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Maak een protest over uitspraken over het lichaam waar jij klaar mee bent

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Maak een protest over uitspraken over het lichaam waar jij klaar mee bent

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Verzamel materiaal waarmee jij op een beeldende manier je fysieke grenzen aan kan geven

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Verzamel materiaal waarmee jij op een beeldende manier je fysieke grenzen aan kan geven

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Ontwerp iets wat je aan kan trekken waarin jij de plekken aangeeft waar jij NIET aangeraakt wilt worden

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Ontwerp iets wat je aan kan trekken waarin jij de plekken aangeeft waar jij NIET aangeraakt wilt worden

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Ontwerp een poster met een quote die jij graag kwijt wilt over naaktheid

Ontwerp je alter ego in 2 beelden

Ontwerp een magazine cover over body positivity

Maak een liefdesbrief aan jezelf met daarbij een foto

Maak gebruik van bestaande beelden om een collage te maken over identiteit

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Maak een sculptuur over het onderwerp sex voor in de school

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Maak een sculptuur over het onderwerp sex voor in de school

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Maak een protest over het ideale lichaam

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Maak een protest over het ideale lichaam

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Ontwerp een beelden lijn over de verschillende soorten seksuele oriëntatie 

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Ontwerp een beelden lijn over de verschillende soorten seksuele oriëntatie 

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Ontwerp een campagne over sexsuele oriëntatie 

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Ontwerp een campagne over sexsuele oriëntatie 

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Ontwerp een ode aan het lichaam, maar NIET aan het ideale lichaam

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Ontwerp een ode aan het lichaam, maar NIET aan het ideale lichaam

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Ontwerp een sculptuur voor de openbare ruimte waarin je 1 geslacht centraal zet zonder deze af te beelden.

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Verzamel online materiaal en ontwerp een campagne over sex

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Verzamel online materiaal en ontwerp een campagne over sex

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Ontwerp iets wat je aan kan trekken, waarmee jij jouw fysieke grenzen aan kan geven

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Ontwerp iets wat je aan kan trekken, waarmee jij jouw fysieke grenzen aan kan geven

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Maak een zelfportret zoals je jezelf NIET op social media zou posten.

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Ontwerp een draagbaar item dat je doet denken aan het begrip vrijheid, denk in kleur, structuur, stof, patronen ect...

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Pak een bekend portret en maak hier een nieuwe versie van met het andere geslacht.

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Non-binary finery: can genderless fashion move beyond a label? artikel opdracht:

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Non-binary finery: can genderless fashion move beyond a label? artikel opdracht:

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-Maak een genderloos kledingstuk
-Maak een kledingstuk dat door iedereen gedragen kan worden
-Ontwerp een kledingstuk dat door iedereen gedragen kan worden
-Ontwerp een kledingstuk die voor ieder gender is

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opdracht: Werk in een duo en maak gebruik van je 5 zintuigen om de ander op verschillende manieren te portretteren.

Bron 1.  https://www.nowness.com/story/my-body-is-a-sculpture-anest-collective “the whole idea of going deeper,” says Mullane, “of finding more than what can be seen at first glance.”

Bron 2. https://www.florianmehnert.de/social_distance_stacks_en.html

Bron 3.  https://rietveldacademie.nl/en/page/22068/when-the-body-says-yes-venice-biennale 'When the body says Yes' , research into the status of intimacy in our increasingly alienating, commodity-driven world.

REO: https://www.instagram.com/p/CkbPknRIFsq/ Bee intense van Ana prvački

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https://www.artsy.net/artwork/jeffry-mitchell-foot-vase-with-flower

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Perhaps the most influential artist of the 20th century, Pablo Picasso may be best known for pioneering Cubism and fracturing the two-dimensional picture plane in order to convey three-dimensional space. Inspired by African and Iberian art, he also contributed to the rise of Surrealism and Expressionism. Picasso's sizable oeuvre grew to include over 20,000 paintings, prints, drawings, sculptures,ceramics, theater sets, and costume designs. He painted his most famous work, Guernica (1937), in response to the Spanish Civil War; the totemic grisaille canvas remains a definitive work of anti-war art. At auction, a number of Picasso's paintings have sold for more than $100 million. The indefatigable artist has been the subject of exhibitions at the world's most prestigious institutions, from the Museum of Modern Art and Centre Pompidou to the Stedelijk Museum and Tate Modern.

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Jeffry Mitchell | Foot Vase with Flower (2012) | Available for Sale | Artsy

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Available for sale from Mark Moore Fine Art, Jeffry Mitchell, Foot Vase with Flower (2012), Glazed earthenware, 10 × 12 × 5 in

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Ontwerp een kledingstuk waarin je speelt met de vormen in jouw (of een) lichaam om deze te accepteren zoals die is

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https://instagram.com/michaelastark?igshid=YmMyMTA2M2Y=

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Michaela Stark (@michaelastark) • Instagram photos and videos

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141K Followers, 951 Following, 416 Posts - See Instagram photos and videos from Michaela Stark (@michaelastark)

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maak d.m.v. een kunstwerk een ode aan jouw vader- of moederfiguur

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https://www.dazeddigital.com/art-photography/gallery/31399/0/stella-asia-consonni-dear-dad-2022

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Stella Asia Consonni’s short film and photography exhibition takes a poignant look at three New York kids’ relationships with their devoted dads

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http://malafemminista.com/blog/2013/07/mother-art-at-the-55th-venice-biennale

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I was very pleasantly surprised by how much mother art is on display at this year's Venice Biennale. My own compatriot Shary Boyle places maternalism front and centre in her piece for the Canadian pavilion, Music for Silence. I love what she told Christine Pountney about this choice here:

...what I was thinking when I made this work, was the role of aging women-and also the role of mothers. Both subjects are the least sexy and popular and fashionable to take on in the contemporary art world, where it's all about status and hierarchy, it's a very cool place. It's very subtle and distinct about what people can speak about, what material, what medium. It's not just economic-what people are buying-but what people are writing about, and what art is supposed to be: avant garde, at some level, that has status, and people want the newest thing. But it's been very academicized for quite some time. What gets left out of that conceptual arena is the... [ here she pauses and laughs incredulously] the women and the children.

And from this great piece by Sara Angel in the The Walrus:

Every once in a while, [Boyle] explains, her art makes people cringe, especially when, as with her installation in Venice, "it has to do with children or infants." In Music for Silence, she will place what she describes as "a three-metre-long, 1,000-year-old plaster mermaid embracing a newborn." As with Virus, she will project images onto it. When I ask why this might pose a problem, she counters loudly: "Come on! Who wants to deal with babies and art? It's just not cool." Furthermore, she adds, it will erroneously link the piece to what is now often seen as "embarrassing, out-of-date '70s body art." Still, the subject compels her as a feminist artist, because, she says, "Mother and child figures are so brutally overdone. They can only exist in the Catholic Church or in advertisements for soap. Artists today don't know how to present family, childbirth, women and men. What do we do about this thing that is at the core of our life?

After reading Pountney's interview above I had high expectations, and I'm really sad to say they were not met. I LOVE Boyle's subject matter, obviously; the fact that she aims to give voice to the voiceless, that she sticks up her middle finger to the stuffy elitist contemporary art world circles that exclude mothers and children, but the work itself just didn't move me as I'd hoped it would.

And interestingly, contrary to what Boyle says above, mamma-hood seems über-hip right now if you give credence to the art-pulse-taking Biennale--arguably still the most important contemporary art exhibition in the world. With more than 50 sites all throughout the city, you simply can't see everything, even in a couple days (which I was lucky enough to have). But British artist Marc Quinn's Breath, a 35-ft tall sculpture placed on the island of San Giorgio Maggiore, is impossible to miss considering its location across the lagoon from Venice's pulsing heart, St. Mark's Square.

The piece is an inflatable replica of Quinn's 2005 Carrara-marble statue Alison Lapper Pregnant, which stood on a plinth in London's Trafalgar Square for two years and was featured in the 2012 Summer Paralympics opening ceremony. I love the dignity and monumentality Quinn has conferred upon Lapper's unconventionally beautiful body. According to the accompanying text it's meant to represent a "new model of female heroism." Bafflingly, the piece sparked criticism from the Catholic church.

Unfortunately I didn't get to see Quinn's The Way of the Flesh featuring Dutch model Lara Stone heavily pregnant and reclining on a bed of raw meat. It's part of a show dedicated to Quinn at the Fondazione Cini.

The terrific artist Cindy Sherman was tasked with curating a tiny portion of Massimiliano Gioni's main Biennale show "The Encyclopedic Palace" and her mini-exhibit features a piece called The Hidden Mother by Italian artist Linda Fregni Nagler, who spent a decade collecting 997 photos taken from the 1840's to the 1920's all presenting children whose mothers are conspicuous in their "absence."

I actually first learned about this widespread practice--whereby disguised mothers kept their children still while being photographed--from feminist mum blogger extraordinaire Andie Fox over a year ago, and as usual she said it best:

Sometimes you see this cultural phenomenon and it's so perfect in explaining everything that you just think case closed.

However, my very favourite piece of mother art was this quiet, haunting photograph by Siberian photographer Nikolay Bakharev, one of a series of photos he took of families at the beach.

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Mother art at the 55th Venice Biennale - Malafemmin(ist)a

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I was very pleasantly surprised by how much mother art is on display at this year's Venice Biennale. My own compatriot Shary Boyle places maternalism front and centre in her piece for the Canadian pavilion, Music for Silence . I love what she told Christine Pountney about this choice he

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maak een fotoserie waarin jij jouw feminine of masculine kant ontdekt

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https://www.dazeddigital.com/art-photography/article/57259/1/photographs-felipe-orellana-masculinity-queer-men

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Felipe Orellana 's dreamy portraits of languid, reclining young men suggest the sense that we're glimpsing something private; we are being granted a brief interlude in the bedrooms, balconies, and intimate moments of beautiful strangers.

This ongoing series, which Orellana began working on in 2019, is an exploration of masculinity and an attempt to reframe the limitations of gender binaries. As a queer photographer, he's interested in challenging the expectations placed upon male-identifying individuals. " My images try to depict an alternative," he explains in a conversation over email. "I seek to portray the young, the sensitive, and the mutants."

Having moved in quick succession from Santiago to Berlin and then to Madrid, Orellana has more than once found himself far from home and friendless in a new town. " I'm used to being the new one in a city where I don't know anyone," he tells Dazed. Taking portraits of strangers provided an infrastructure which not only enabled him to meet like-minded people but also accelerated the intimacy of their encounter. "Somehow the project makes social life easier for me, by pushing me to be friendlier."

Initially, Orellana began this series when he moved to Berlin in 2019, meeting queer people through social media and dating apps. He says, "I use the camera as a means to connect and reflect, to create this brief bond with that other person who, in addition to inspiring me with beauty in an aspirational way, invites me to be part of their story for a day or an afternoon."

He may use his camera to capture other people's lives, to connect and reflect, but the practice of photography is one that has also become deeply entwined in Orellana's own daily life. He tells us about the type of moments that might compel him to reach for his camera: " Sometimes I think about my project as 'a day in the life of' the subjects. Most of my pictures meet halfway between 'documentary' and 'staged'. Even though I plan most of the shoots, I try to keep them as close to reality as possible. I try to stay near, or in their spaces, so there's an unveiling process which happens."

While he perceives that the gender structures we live within are inherited, his aim is to create images portraying possibilities beyond the templates that have been bequeathed to us; to "reshape the traditional imagery we have of men." He reflects, "I was taught - and probably our parents got taught too - to behave in those specific ways and to perform this gender under its rules. But I want whatever 'masculinity' is to coexist with queerness and femininity; to celebrate everyone who was deprived of vulnerability or self-expression."

Accordingly, Orellana's subjects deviate from t he common representation of maleness, which he defines as "confident, strong, sometimes aggressive and always distant from their emotions." Instead, his subjects seem vulnerable and tender - laying prone or entwined, gazing invitingly back at the camera. " As a joke, my friends and I tend to describe the aesthetic of my work as 'young men lying on their living room floor'," he laughs, admitting, "There's some truth in that..."

For a closer look at Felipe Orellana's ongoing photo series, take a look through the gallery above.

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Embrace the femme: Beautiful portraits of young queer men

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Felipe Orellana 's dreamy portraits of languid, reclining young men suggest the sense that we're glimpsing something private; we are being granted a brief interlude in the bedrooms, balconies, and intimate moments of beautiful strangers. This ongoing series, which Orellana began working on in 2019, is an exploration of masculinity and an attempt to reframe the limitations of gender binaries.

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https://www.dazeddigital.com/photography/gallery/24017/3/gender-trouble

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Youth and pop culture provocateurs since 1991. Fearless fashion, music, art, film, politics and ideas from today's bleeding edge. Declare Independence.

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ontwerp een poster (of kunstwerk) waarin jij aangeeft wanneer mensen jouw consent moeten vragen

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https://www.artsy.net/article/artsy-editorial-body-issues-feminist-artists-1970s-art-condemn-sexual-violence

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Suzanne Lacy, Three Weeks in May,1977. Photo courtesy Suzanne Lacy Studio.

Everyone has a body. Aside from all our biographical data-age, sexual orientation, ethnicity, nationality, religion-we're all just structures of skin and bones, with blood coursing through us. This fact has long enchanted artists, who have responded to their bodies, and those of others, through painting, sculpture, new media, and performance. Art history is ripe with people making sense of the embodied experience: from stick figures in caves to Michelangelo's David (1501-04), from Marina Abramović's The Artist is Present (2010) to video games that interrogate humanity. As our future on this planet becomes increasingly uncertain, ideas about the body-and what it can withstand-are ever more relevant. In this column, I'll look at new publications and exhibitions and speak with writers and artists to analyze how art influences our understanding of the body.

For centuries, artists celebrated rape in allegorical paintings. Roman mythology, after all, cites two stories of rape as absolutely foundational to Western civilization. A member of the Etruscan royal family decided to rape Lucretia, inciting a rebellion that led to Rome's establishment. And Roman men raped the Sabines because there weren't enough Roman women with whom they could procreate. The Sabine women's offspring allowed the republic to thrive. Artists including Titian, Rembrandt, Nicolas Poussin, and Jacques-Louis David commemorated these violations in their paintings. Looking at their canvases, and considering the tales behind them, you'd be forgiven for thinking rape was a romantic, dramatic encounter that ultimately led to the betterment of society.

To the contemporary reader, that is (or should be!) an infuriating conclusion. The implicit lessons-that women must be pawns in men's political games, that women's lives and desires should be sacrificed in favor of a common cause-are the purview of proud misogynists. Yet throughout much of Western art history, women's objectification was both aesthetic and legal. "Rape was a crime of property, and specifically a crime against the woman's husband or guardian," writes Nancy Princenthal in her new book, Unspeakable Acts: Women, Art, and Sexual Violence in the 1970s (2019). Princenthal explores how feminist artists, from the 1970s through today, have offered alternately grotesque, funny, vulnerable, and media-savvy counternarratives. Through radical performances, paintings, and photographs, artists including Yoko Ono, Suzanne Lacy, Jenny Holzer, Kara Walker, and Naima Ramos-Chapman, among others, have developed revolutionary new ways to speak about violence against women's bodies.

Throughout the 1960s, the emergence of performance art offered women a potent new medium for discussing rape. Ono took both vulnerable and predatory positions in her work. In Cut Piece (1964), she sat on a Kyoto stage and invited audience members to snip away her clothing. While the piece may sound like an invitation for harm and an encouragement of passivity, Princenthal believes otherwise. "To shine a light on environments of sexualized threat is, at least implicitly, to refuse unquestioning acquiescence," writes Princenthal. By taking control of dangerous environments, "artists help conceive a safer world." For a 1969 film, Rape, Ono and collaborator John Lennon filmed a young woman as they chased her around London. The title underscores the boundary between a bodily threat and a violent actuality as it turns the camera into a weapon. Filming and chasing someone is not the equivalent of raping her, yet an artist-or anyone, for that matter-who wields documentary equipment can be a fearful aggressor.

Ono's protofeminist work anticipated the burst of feminist art throughout the 1970s. In California, Judy Chicago and Miriam Schapiro co-founded the California Institute of the Arts's Feminist Art Program and organized the legendary project Womanhouse (1972). Situated in an abandoned Hollywood home, the installation gave its female participants space to make work and discuss gender-related struggles. Theatricality and spectacle reigned. Women adorned themselves with exaggerated stage makeup, wielded genital-shaped props, and acted out the process of giving birth.

Lacy, a student involved with the Feminist Art Program, took this dramatic, fit-for-Tinseltown approach a step further. She harnessed the camera, and media attention itself, in a brand-new way. Her socially oriented project Three Weeks in May (1977) featured performances, self-defense demonstrations, and artworks about Los Angeles's rampant rape epidemic-in 1977, the LAPD received 2,386 reports of rapes and attempts. Lacy actively sought media attention and issued press statements. Six months later, she and fellow artist Leslie Labowitz staged In Mourning and in Rage, an explicit "media event" that comprised a symbolic funeral for the women who were rape and murder victims of the recent "Hillside Strangler."Princenthal writes that each detail-"the literally larger-than-life actors; the anger-fueled sound bites; the clear symbolism of the funeral cortege; the control of the scene so that every photograph would capture what the artists intended"-was chosen in order to "carry a clear meaning via mass media." Perhaps the first artist to ever harness the press in this way, Lacy took complete control of her messaging and its public image. Though women discussed violence and victimhood in her work, they ultimately appeared powerful and potent to the camera lens.

While Lacy took a hyperlocal approach to her subject, Holzer adopted an international view in her photography series "Lustmord" (1993-94). The German title of the work, which means "sex-murder," "names an act of homicidal violence that is converted into sexual satisfaction," Princenthal writes, "an inversion of the common understanding that rape is sex converted into a gratifying (for the assailant) act of violence." A genre of German Expressionist work in this vein, by artists including George Grosz and Otto Dix, glorifies these acts.

In a particularly disturbing picture, Dix's Sexual Murderer (Der Lustmörder) (1920), a diabolical man in a checkered suit holds a bloody knife in one hand and a leg in another. Hacked off, female body parts ooze blood around him. "They are among the nastiest things I've ever seen," Princenthal told me. The sheer ingenuity and number of ways that men have delighted in depicting violence against women truly boggles the mind.

Holzer, a poet of an artist, reclaimed both the concept of "Lustmord" and the visual and written language used to discuss rape. Addressing the rapes against Bosnian women during the Bosnian War in the 1990s, Holzer created texts from the perspectives of a victim, a perpetrator, and an observer. She projected them on walls, photographed them as tattoos on skin, and etched them into metal bands that circled human bones. "I AM AWAKE IN THE PLACE WHERE WOMEN DIE," reads one. Arguably as visceral and disturbing as depictions of violence itself, Holzer's work reconsiders what kind of visual language we need when considering rape-must we show the act itself to convey its horror?

For a counterexample, one might look to Kara Walker's black-and-white silhouettes, which regularly depict slave owners violating their charges. Both bodies of work are powerful; the divergence of Walker's and Holzer's aesthetic strategies evidences the growing plurality of voices and perspectives addressing rape. These complications may ultimately be a good thing. While feminism fractures, a growing number of women are able to enter the conversation.

"Until the last quarter of the twentieth century, the artists and writers who represented sexual violence were almost entirely men. And it was men whom they addressed," Princenthal writes. She notes that these men's work entirely elided the victims' experiences. Over the past 50 years, daring, creative women have changed that.

The #MeToo movement has similarly helped women find language for their experiences, though Princenthal is careful to note its limitations. The hashtag hardly helps elucidate what "sexual violence" actually means, and entirely omits the fact that women living in poor, minority communities are the most vulnerable-not white women on college campuses, who are the most vocal about such issues. For artists, these gray areas aren't problems, but invitations to address an endlessly complicated subject with unique, individual points of view.

One of the most recent artworks Princenthal includes in her book is Naima Ramos-Chapman's short film And Nothing Happened (2016), which follows a young woman struggling to explain her assault and its emotional repercussions. The video exemplifies one of the greatest challenges, and most important issues, still facing women artists who want to address sexual violence in their work. "It's still about finding language," Princenthal said. That's the point.

Meet your new art advisor.

Get the app. Get the art.

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How Feminist Artists Have Condemned Sexual Violence | Artsy

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In the first article of the new column "Body Issues," I examine the revolutionary ways artists have discussed and addressed violence against women's bodies.

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https://www.dutchnews.nl/features/2022/04/a-pluffy-pillow-pleasure-island-dutch-venice-biennale-focus-is-touch-and-consent/

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‘A pluffy pillow pleasure island’ – Dutch Venice Biennale focus is touch and consent - DutchNews.nl

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The Venice Biennale, the art world’s most anticipated event, opens on 23 April. The Dutch entry, melanie bonajo’s whimsical When the body says Yes, is sure to stand out. We meet the artist to find out more. ‘I’d just finished somatic sex coaching training and then I got the phone call,’ the multidisciplinary artist melanie bonajo (lowercase, they/their) told DutchNews.nl. Being selected by the Mondriaan Fund to represent the Netherlands at the Venice Art Biennale, the world’s most prestigious international…

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Maak een kunstwerk over hoe jij je ongesteldheid ervaart

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https://www.dazeddigital.com/photography/gallery/23539/14/pics-or-it-didnt-happen

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https://www.visitlondon.com/things-to-do/place/48538210-🤬-museum

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Discover a groundbreaking museum in vibrant Camden, offering a programme of fun events.

Prices and opening times

Opening Times

Monday to Saturday: 10am to 6pm

Sunday: 11am to 6pm

Last admission is at 5.15pm.

Closed on Christmas Day.

Venue Details &amp; Map

The Vagina Museum

Address

Unit 17 and 18 Stables Market
Chalk Farm Road

Telephone:

+44 (0)20 3715 8943

Email

info@vaginamuseum.co.uk

Public transport:

Camden Town and Chalk Farm stations are five minutes away and Camden Road station is a 10-minute walk. Buses stop near the museum at Chalk Farm Road (27, 31, 168), Ferdinand Street (24), Chalk Farm/Morrisons (393) and Hawley Road (88, 134, 214).

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The Vagina Museum - Museum - visitlondon.com

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Discover a groundbreaking museum in vibrant Camden, offering a programme of fun events. Monday to Saturday: 10am to 6pm Sunday: 11am to 6pm Last admission is at 5.15pm. Closed on Christmas Day. Address Unit 17 and 18 Stables MarketChalk Farm Road Telephone: +44 (0)20 3715 8943 Email info@vaginamuseum.co.uk Public transport: Camden Town and Chalk Farm stations are five minutes away and Camden Road station is a 10-minute walk.

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Contact high D’Angelo Lovell willams

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In 2020 leek het in een stroomversnelling te komen: de aandacht en erkenning voor mensen die buiten de gender binary vallen. Het non-binaire personage van Thorn Vineyard in jeugdserie SpangaS, de 36 miljoen keer bekeken coming out-video van Nikkie de Jager en de aankondiging van Elliot Page dat hij door het leven gaat als hij/hem of they/them. Aan de andere kant is de gender reveal party de laatste jaren vanuit Amerika overgewaaid naar de rest van de wereld en legt de nadruk op het geslacht van een kind op drukkende hoogte. Maar wat als mensen zelf bepalen wie ze zijn? Dan ontstaat de Genderful World.

De expo leidt je langs diverse topics zoals, bepaalt jouw lichaam je gender en welk gender heeft de macht? Maak kennis met gender als spectrum door middel van stukken uit onze collectie, foto, film en mode

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In 2020 leek het in een stroomversnelling te komen: de aandacht en erkenning voor mensen die buiten de gender binary vallen. Het non-binaire personage van Thorn Vineyard in jeugdserie SpangaS, de 36 miljoen keer bekeken coming out-video van Nikkie de Jager en de aankondiging van Elliot Page dat hij door het leven gaat als hij/hem of they/them.

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Imke Ligthart
That’s what I want – Lil Nas X
Love Simon

Nog geen opdracht

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Body Positive Festival
Elle Belgium – Vivian Hoorn Self Love

Nog geen opdracht

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Beeld het gevoel van verliefdheid uit in werk

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Marlilyn Sonneveld
Sex – Kris Kross Amsterdam & Cheat Codes
Ongelikt – De Sex Zusjes

Nog geen opdracht

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Let Me Hold You – Cheat Codes
Turn Me On - Job Taks en Caio Vita
Melanie Bonajo – When the body says Yes
Dutch National Ballet & G-Star – Social Distancing Denim Tutu

-Geef op een beeldende manier jouw grenzen aan
-Ontwerp een kledingstuk waarmee jij jouw grenzen aan kan geven
-Maak een poster waarin jij aangeeft welke aanrakingen oké zijn

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https://zhuanlan.zhihu.com/p/92088721

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Hoe ziet je gevoel x eruit?

Maak een beeld van hoe je emotie eruit ziet

Thema specifieker?

Aanraking, gevoel, triggers,

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https://brooklynrail.org/2022/06/artseen/In-All-Innocence-Women-Children-and-Others-at-the-Venice-Biennale

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The title of Cecelia Alemani's Biennale comes from a children's book. Written and illustrated, with ink and wash drawings, by the Surrealist painter Leonora Carrington, The Milk of Dreams is tender, dark, charming and slight. Composed of short vignettes that, dreamily, follow no logic-odd transfigurations take place; misplaced heads recur-it seems as much written by children as for them. An early copy is exhibited at the Giardini in a suitably pint-sized gallery, along with equally unlikely books for children by Claude Cahun and Paula Rego, a suite of publications that mark, however lightly, the centrality to this Biennale of what might be called an uncertain innocence. It warrants examination.

Early Surrealism was deeply influenced by Freud's provoking notion that our most indelible early experiences are invariably harrowingly sexual, and that dreams and free association offer access to them. These psychoanalytic resources were deployed in art that was meant, quixotically, to expose a moribund culture's hypocrisies and overthrow bourgeois society. Many of the founding Parisian Surrealists were active members of the Communist Party; the conflict between Trotsky and Stalin was a driving issue. At the same time, they promoted fairly aggressive mayhem, actual or assumed madness seeming a sensible response to the regimented slaughter of World War I. Surrealism celebrated the art of schizophrenics, of people uncorrupted by or constitutionally unsuited to official Western culture, and of children. Women occupied an uncertain place in the movement, part force of nature, part submissive muse. Tribal artwork from colonized places all over the world was avidly studied-and bought and sold. None of this was innocent, nor intended to be. And little of it bears up as a program of cultural renewal. Particularly troubling are the equations implied, then and now, by linking all these unalike producers of art.

The dominance of women in this Biennale is unquestionably cause for jubilation. Its importance can't be exaggerated. Similarly momentous is its embrace of artists from beyond the cosmopolitan centers of the West. Alemani's commitment to the relationship of human bodies to technology and to the earth provides a shape for her show that is clear and flexible, a kind of miracle for an undertaking of this scale. The mini-exhibit within the Giardini of historical work-Alemani calls it a "fulcrum"-by the likes of Carrington, Cahun, Leonor Fini, Carol Rama, Dorothea Tanning and Remedios Varo is a curatorial triumph, illuminating and timely. So is the extended lineage of art that keeps its antennae up to the wisdom of the natural world and its divines.

Still, the connection established between art by children and by women and others who having been marginalized feels pretty uncomfortable to me. I find the wispy ladies disposed in shadowy settings in paintings by Carrington, Varo et al. haunting but musty-visual narratives that hoard their secrets, as other people's dreams tend to do. More robust and satisfying but nonetheless whimsical, the paintings on view by Golden Lion awardee Cecilia Vicuna are an uneasy hybrid of magical realism and political commentary; in one, we see (with the help of a wall label) strikers facing police violence who, fleeing, become sacred animals-black panthers, jaguars, wild buffalos-and are joined by a naked woman and a dwarf Lenin. A similar blend of history, allegory and fantasy animates tapestries by Violeta Parra, a Chilean singer-songwriter whose visual art grew out of her music. Her embroideries, lively and folkloric, are inspired by pre-Columbian art and depict national struggles, such as Chile's bloody engagement in the War of the Pacific. Grandma Moses meets environmental collapse in the beguiling, lucid little paintings of California-based painter Jessie Homer French. One features an oil rig ablaze against an azure sky, while gorgeous fish swim in oblivion below; in another, wolves and deer cavort in a wintry clearing that is studded with hazard signs and labeled Chernobyl. Whatever their individual strengths, taken together these works show women pulling their punches, addressing urgent issues sweetly and appealingly, flaunting their (false) naivete.

Things get much more visceral, and to my mind more compelling, with paintings and photographs that directly address the complications of innocence, making childhood, and parenthood, their subjects. The Swiss artist Miriam Cahn contributes paintings that are alternately woeful, languid and terrifying, in which babies drift downward through deep water or are born in a pool of blood. Cahn presents graphic sex, skeletons visible beneath the flesh, and an infant held uncertainly by grasping hands, its eyes wide with fear. Equally gripping are British painter Paula Rego's big pastel drawings on paper of brutish, raging mothers and squalling children enacting the darkest of fairy tales, bursting out of the frame into deep reliefs and freestanding sculpture. In Aneta Greszykowska's black and white photomontages, closely connected to Surrealist precedent, a mother and her daughter share melancholy and painfully ambivalent mutual concern.

To be sure, mythic figures and gruesome fairy tales are not the exclusive precincts of women. At the Danish pavilion, Uffe Isolotto produced a shamelessly gothic tableau that includes a female centaur lying on her side and staring, glassy-eyed, into space. The whiff of piety that hangs over work like this is skewered deliciously in Jim Shaw and Marnie Weber's collaborative off-site installation at Squero Castello, a funhouse of horrors that mingles sculptural monsters, paintings, photo mashups and a video with the venue's assorted antiques. Countering the dreamy trans-historicism that prevails in this Biennale, Shaw and Weber introduce wicked takes on contemporary politics, as in a painting showing the former president and his wife perched on an escalator descending into a flooded lobby where his henchmen bob disconsolately, Michael Cohen prominent among them. The visual language may be cartoonish, but it is far from childish.

Perhaps the most optimistic-yet wholly unsentimental-perspective on childhood at the Biennale is offered by Francis Alÿs's absorbing multi-screen video installation in the Belgian Pavilion, which shows children around the world engaging in ordinary play, from jump rope and snowball fighting to the ancient game of mancala. In one, a little boy pushes a tire up a hill with ferocious tenacity, having outrun other kids to get hold of it; the camera pulls back to show the bleak immensity of the hill, then zooms in to see the boy inserting himself into the tire and tumbling ecstatically the whole long way back down. All the play on view is live and involves furious competition and negotiation. And joy.

Elsewhere in Venice, Marlene Dumas's bravura survey at the Palazzo Grassi offers several wry glimpses of childhood, notably a full-length portrait of a naked little girl glaring at us angrily, her hands smeared with color. Called The Painter, the often-reproduced image depicts the artist's daughter; brought into the world by Dumas and reborn in this painting in a way that only art can, she is granted her full complement of power. Women, Dumas seems to say, can be assumed to know a thing or two about the damage done by recourse to dubious notions of innocence.

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In All Innocence: Women, Children and Others at the Venice Biennale

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The dominance of women in this Biennale is unquestionably cause for jubilation. Its importance can't be exaggerated. Similarly momentous is its embrace of artists from beyond the cosmopolitan centers of the West.

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Beeld een lichaamsdeel af op zo'n manier dat deze niet meer herkenbaar is als lichaamsdeel.

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Maak een ode aan het vrouwelijk lichaam met behulp van huishoudelijke artikelen.

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Maak een ode aan het vrouwelijk lichaam met behulp van huishoudelijke artikelen.

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- Maak een tekening van de ideale vrouw waarin het geen ideale vrouw meer is.
-  Ontwerp een poster waarin een specifiek lichaamsdeel wordt verkocht.
- Maak een poster waar het ideale lichaam in wordt verkocht.
- Ontwerp een instagram pagina voor een specifiek lichaamsdeel.

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https://www.instagram.com/p/CkZgeIiPZnv/

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Vergroot een foto van een deel van je lichaam en creëer een abstract werk.
https://lucyli.studio

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For fifteen years already, an extraordinary museum on Jeju Island plays a major role in the sex education of the people of South Korea. Its name is Jeju Loveland Sculpture Park, and it exhibits some 140 sculptures of human figures engaging in the saucy act of sex!

Sure, visitors are mainly giggling in front of the unusual display of statues having sex, but then again - in what school do you not see classmates bursting into laughter at something that the teacher said?

I traveled to the Love Land, an open-air school of sex positions and erotic art! Between a museum and an amusement park, Jeju Loveland is a fun ride to enjoy.

But beware of those pictures - they are definitely Korean NSFW! Scroll down to the Jeju Loveland photo gallery at the end of the article if South Korea's sex park makes you impatient!

Kama Sutra in the Korean way

An enormous woman, supposedly 9 meters tall, writhes in joy at the very entrance of Jeju Loveland. Painted in gold, she might be alone, but her craving for physical attention is real.

As if we have entered someone's private bedroom, we witness an orgasmic spasm. The artwork's title is "Desire", and it is quite a tame introduction to this Korean sex park, a jungle of human sexuality that even Kama Sutra might find raunchy.

Visitors follow the penis-shaped arrows, and the very illustrative sexual manual unfolds in 3D.

The variety of sexual positions is impressive! Dozens of human figures, even some dogs and pigs, display the old and some new ideas for your own sexual aerobic at home.

"Jeju Loveland is a place where imagination can run wild", the motto boasts. But while the giggling crowds of young and old might suggest that this is just a humorous sex-themed park, the management promises much more! "Jeju Loveland provides a proper approach to sex culture", they say.

Jeju, Korean sex education island

The idea of subtle sex education was conceived here in the 1970s. As most Koreans were not allowed to travel abroad until the 1990s, the warm Jeju in the South became the prime honeymoon island.

In this period, families were arranging marriages, and newlyweds sometimes didn't even know each other properly. Jeju Island was the place to meet and interact with your life partner, far away from family pressure.

The famous British journalist Simon Winchester reported that in the late 1980s the hotels on Jeju Island were employing the "professional icebreakers". Their role was to help the freshly married couples relax, through a series of entertaining erotic games, which included lap dances, but didn't stop there. The writer comments that one of these hotel entertainers probably deflowered more women than any other man in Asia.

Korean sex island was born.

The prevailing image of Asia as a conservative place is being broken in Japan too. Check how they celebrate his majesty of the penis at Kanamara Matsuri religious festival!

Jeju Loveland - fifteen years of Korean sex art

Love Land sculpture park opened on Jeju on November 16, 2004. It was a product of two years of hard work.

Two dozen graduates of Hongik University in Seoul, a Korean prime art school, gave their best in interpreting the wealth of human sex life.

While one of the intentions was indeed the education of the public, the underage visitors to Jeju Loveland were not permitted. That's right, sexual training in Korea starts only when you enter the 20s!

In the world of enlarged phalluses and labia carved in stone, your social inhibitions quickly break

From the giant marble penis that spurts water which bounces off the ground, to miniature dioramas that depict the sexual life of Koreans in everyday situations, sex in Jeju Loveland comes in all sizes and shapes.

Well, almost all! In a country that still sees homosexuality as a taboo, the exposition is fairly heteronormative. Except for a diorama presenting men in jjimjilbang, the traditional Korean spa, where one of them is laying down with an erection in an all-male environment, Jeju Island sex park dominantly depicts heterosexual encounters.

When in Seoul, these are the best jjimjilbangs you should visit!

On almost 40 thousand square meters of Jeju Loveland, you can experience what Der Spiegel called "salacious Disneyland".

While most of the sex statues are made for observation, many call for interaction. Lone male and female sculptures in Jeju Loveland just scream for your involvement, while your friends snap pictures for Instagram.

In Jeju xxx world of enlarged phalluses and labia carved in stone, your social inhibitions quickly break. By the end of the erotic park tour, you will want to jump on that bicycle with pedaling-generated masturbation, and pedal until the happy end!

But does Korean sex park really present erotic - art?

From gloryholes to car sex, this soft porn sculpture park is a vast photo zone.

Jeju Loveland might defend its educative role by throwing in a few mythological references or by extending the creative variations of threesome intercourse.

But in the end, is it just an acceptable excuse for visiting a sex shop? Is South Korea's sex amusement park not more than a smart way of igniting the visitors' need for kinky adult toys, readily available in the museum's gift shop?

The description plates next to the Love Land statues do not reveal the names of the sculptors. It is almost as if authorship is not essential. Jeju Loveland sculptures drown in anonymity.

So is this erotic theme park really a museum, or more of a playground? It is certainly a rare example of a sculpture exhibition that encourages visitors to touch the art.

Before leaving Jeju Loveland, we are invited to throw our spare coins into a goldfish pond, where hopefully a penis-shaped fountain may fulfill our wishes.

I decide to visit the Jeju sex museum's restroom instead. On the male toilet, the door handle in the shape of female breasts. On the door of the female bathroom, the handle is in the form of a penis in erection! One could say that it is coherent exploitation of the sex theme. But there is some awkward trashiness that blooms in this example.

While I relieve at the urinal, my pee slowly spills out of the bottom of the thing and floods the area that I thought was wet with water. That was all fountain luck I needed!

JEJU LOVELAND ESSENTIALS

Where is Jeju Island?

Jeju Island is the southernmost island of South Korea. It lies in the Korea Strait, the sea passage between South Korea and Japan.

Going from Seoul to Jeju Island is straightforward. A direct flight is just 70 minutes long, and there are more than 90 flights per day!

For the best available prices of flight tickets, book your Jeju trip here!

How to get to Jeju Loveland?

Jeju Loveland is located in the northern part of the island, just a 15-minute ride away from Jeju International Airport.

The taxi ride from Jeju airport to Love Land should cost you less than 10.000 KRW (8 Euros).

If you are coming from Jeju city to Love Land, you can take bus number 240 (the blue one) at Jeju Bus Terminal. You should exit at Jeju Museum of Art. The theme park Jeju Loveland is some 550 meters away from this bus stop.

Jeju Loveland admission fee

Jeju Loveland ticket costs 12.000 KRW (9 Euros).

If you'd like a discount on the Jeju Loveland admission fee, you should form a group of 30, and then the price would be 11.000 Won.

Jeju Loveland entrance fee for seniors costs 10.000 Won, while if they form a group of 30, the price will drop to 9.000 Won (7 Euros).

All in all, the discounts at the Korean sex garden do not seem to be significant, and the conditions are strict.

Jeju Loveland operating hours

The opening hours for Jeju Loveland are 9 am to midnight. The last admission to the sculpture park is at 11 pm.

If you are visiting Jeju Loveland at night, you will find the park illuminated, which is a very different experience.

In any case, allow yourself one hour for the visit to the South Korean sex theme park, one of the most popular Jeju Island tourist attractions!

Where to stay in Jeju?

If you want to stay close to the park, check the best accommodation offers in the Jeju Loveland area here.

Best time to visit Jeju

The warmest months to visit Jeju Island are July to September. In August, the daily temperature at the Korean island of desire might be from 26 to 31 degrees Celsius.

The busiest (and the most expensive) months on Jeju are January, May, and April. For lower prices, check December.

No words can replace what the images can communicate.
To learn more about Jeju's most explicit theme park, explore these sexual sculptures in our Jeju Loveland photo gallery!

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For fifteen years already, an extraordinary museum on Jeju Island plays a major role in the sex education of the people of South Korea. Its name is Jeju Loveland Sculpture Park, and it exhibits some 140 sculptures of human figures engaging in the saucy act of sex!

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8 bronnen:
- https://www.nowness.com/story/my-body-is-a-sculpture-anest-collective
- https://aestheticamagazine.com/an-intimate-gaze/
- https://www.instagram.com/michaelastark/?igshid=YmMyMTA2M2Y%3D
- https://rietveldacademie.nl/en/page/22068/when-the-body-says-yes-venice-biennale
- https://yushi.li/Paintings-Dreams-and-Love
- https://mu.nl/nl/exhibitions/real-feelings-emotion-and-technology
-http://malafemminista.com/blog/2013/07/mother-art-at-the-55th-venice-biennale
- https://www.florianmehnert.de/social_distance_stacks_en.html
- https://www.instagram.com/p/CkbPknRIFsq/

3 gekozen bronnen:
1.  https://www.nowness.com/story/my-body-is-a-sculpture-anest-collective “the whole idea of going deeper,” says Mullane, “of finding more than what can be seen at first glance.”
2. https://www.florianmehnert.de/social_distance_stacks_en.html
3.  https://rietveldacademie.nl/en/page/22068/when-the-body-says-yes-venice-biennale 'When the body says Yes' , research into the status of intimacy in our increasingly alienating, commodity-driven world.
REO: https://www.instagram.com/p/CkbPknRIFsq/ Bee intense van Ana prvački

Wicked Art Asignment:
- Teken je partner per zintuig, dus in totaal op 5 verschillende blaadjes (zien, horen, voelen, ruiken, proeven).
OF
- Beeld je partner uit vanuit je 5 zintuigen.
OF
- Maak gebruik van je 5 zintuigen om je partner/jezelf op 5 verschillende manieren te portretteren.

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https://instagram.com/bloomingsexualities?igshid=YmMyMTA2M2Y=

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- Maak ‘raar’ het nieuwe normaal.

- Verander oude taboes naar het nieuwe normaal.

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photographer daniel obasi explores the taboo of gender fluidity in nigeria

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The artist captures the nonconformist youth of his native Lagos through an Afrofuturist lens.

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FAQs

How long are the plays?
Part One: Millennium Approaches is 3 hours and 30 minutes with two 15 minute intervals.
Part Two: Perestroika is 4 hours with two 15 minute intervals.

How much do tickets cost?
Monday - Thursday evenings and all matinees
£65, £60, £52, £41, £29, £15

Friday and Saturday evenings
£65, £56, £46, £31, £18

Previews Part One 11, 12 Apr; Part Two 24, 25 Apr:
£39, £32, £25, £20, £15
All other Previews:
£45, £36, £27, £22, £15

Two-Play: combined ticket days*
Weekdays: £130, £120, £104, £82, £58, £30
Saturday: £130, £125, £108, £87, £60, £33
Preview Saturday 29 April: £90, £72, £54, £44, £30

*On Two-Play: combined ticket days, tickets are only available as a combined ticket to attend both Part One at 1pm and Part Two at 7pm.

Concessions
Under-18s
Half price for Monday - Friday evenings and all matinees. Excludes tickets under £32.
Senior Citizens
For midweek matinees save £20 on £52 and £41 tickets, or save £10 on £60 tickets.

Disabled People
£16 tickets, plus £16 companion tickets are available for Access list subscribers. Find out about the Access List

UK schools, colleges and universities
Under-19s, £12 and 19 - 25s, £15, for groups of 10+ on selected performances.

Why are there two parts?
Part One: Millennium Approaches was first performed in 1990 and was followed by Part Two: Perestroika in 1992.
In this new staging, Part One presents half of the story and you won't get the full experience without seeing how it ends. Part Two picks up the story and characters, and may be hard to follow without having seen Part One.

Where can I see the full performance schedule?
Click to view a PDF of the schedule.

What is a two-play day?
A two-play day is when Part One is played as a matinee followed by an evening performance of Part Two on the same day. On two-play days with a combined ticket you will have the same seat for both plays.

Are there Access performances?
Yes, see dates and times below.
Part One: Millennium Approaches
Captioned performances:
Mon 12 June, 7pm
Sat 1 July, 1pm
Wed 12 July, 1pm
Wed 19 July, 7pm
Audio-described performances:
Sat 15 July, 1pm
Mon 17 July, 7pm

Part 2: Perestroika
Captioned performances:
Sat 1 July, 7pm
Tue 25 July, 7pm
Thu 10 Aug, 1pm
Wed 16 Aug, 7pm
Audio-described performances:
Sat 5 Aug, 7pm
Mon 7 Aug, 7pm

Is Angels in America suitable for young people?
The plays contain strong language and adult themes.

How many tickets can I buy?
There will be a limit of two tickets per customer for Part One and two tickets per customer for Part Two. Or on two-play days you can buy a pair of combined tickets to see both Part One and Part Two on the same day.

When will I get my tickets?
If you choose to have your tickets posted, they will be sent out two to four weeks ahead of the performance. Otherwise, you can collect your tickets from the National Theatre Box Office on the day of the performance. Please note the credit or debit card that you used to purchase your ticket will be required as proof of purchase when collecting tickets.

Can I buy my tickets from somewhere other than the National Theatre?
All tickets must be purchased directly from the National Theatre. The re-sale of tickets is strictly prohibited and we reserve the right to refuse admission to customers with tickets purchased on re-sale websites.

Can I return my tickets? Will I get a refund?
National Theatre tickets are non-refundable. We can, however, exchange the tickets for a credit voucher as long as we receive the tickets at least 24 hours before the performance (seven days for group bookings). There is an administration fee of £2 per ticket.
To return tickets, please contact the Box Office by completing our returns form online, or by calling 020 7452 3000.

What if I've bought a ticket but am not the one attending?
If you bought tickets as a gift or can no longer go to the performance, we can transfer tickets to a friend or relative. However, there will be some security details that we need to check with you before we can do this - please contact the Box Office here and we will then contact you to verify your booking details.

Is the cast the same for both parts?
Yes - the cast is the same for both Part One and Part Two.

Can I get food and drink before, during or after the shows?
Food and drink can be found in restaurants, cafés and bars throughout the building, most with al-fresco seating overlooking the vibrant South Bank. A special Angels in America menu will be available to pre-book on two-play days in House and Terrace restaurants, so you can enjoy a meal in between shows or brunch before the performances begin. Find out more about Angels in America meal packages.

When will Angels in America be broadcast by NT Live?
Part One: Millennium Approaches will be broadcast live to cinemas on 20 July.
Part Two: Perestroika will be broadcast live to cinemas on 27 July.
Encores of both parts will be in selected cinemas from 4 August.
Sign up to NT Live's newsletter to be among the first to know details of when tickets go on sale for screenings.

Angels Ballot presented by Delta
Hundreds of £20 tickets will be regularly released in a ballot. Click here for details.

Friday Rush
Angels in America Part One and Part Two will not be included in Friday Rush, but we will be operating an Angels ballot presented by Delta, where you'll be in with a chance of accessing up to two tickets for each part, from a special allocation of £20 tickets per performance. See above for how to enter.

Day Tickets
On the day of the performance, twenty £15/£18 Day Tickets are available in person at 9.30am from the ground floor box office. Limited to two per customer.

Day Tickets on two-play days cost £30/£33 and are only available as a combined ticket to attend both Part One and Part Two.

Bag policy at the NT
For the safety and comfort of all of patrons, rucksacks and large bags (bigger than a small under-the-shoulder handbag or messenger bag) are not permitted into the auditoriums. Coats and bags can be stored in one of our free cloakrooms.

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How long are the plays? Part One: Millennium Approaches is 3 hours and 30 minutes with two 15 minute intervals. Part Two: Perestroika is 4 hours with two 15 minute intervals. How much do tickets cost?

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Pride Photo Award is an annual international photo contest for photos about sexual and gender diversity

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Bedenk een catcall (die je wel eens hebt gehoord)

en geef deze met krijt, op een creatieve manier

vorm op de straten voor het gebouw van de

Breitner Academie.

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“Mijn lichaam, mijn regels”

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In de kunst geschiedenis worden er veel vrouwen (naakt) afgebeeld voor de lust. De fotografe Yushi Li is het hier niet mee eens en heeft de mannen in haar werk naakt gefotografeerd als statement.
Vertaal jouw statement naar een performance.

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Ontwerp een nog niet bestaand product voor jouw norm. PITCH jullie concept met jullie SLOGAN in 30 seconden

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Bronnen:
https://www.instagram.com/michaelastark/
http://www.shsadler.com/fresh-meat
https://www.youtube.com/watch?v=z2T-Rh838GA

REO bron:
https://www.instagram.com/fast_ing_and_furious/

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https://aestheticamagazine.com/an-intimate-gaze/

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Santiago Perez explores the concept of relationships and the romantic gaze. False eyelashes point upwards from a dewy plane of skin. Bent wire frames the soft features of a face. Pupils poke out from torn paper.

Sheaths of material swathe the figures with intimate details. Flowers protrude from thin veils and facial features are dipped in paint. Perez transforms the familiarity of facial and physical features into surreal scenarios - dreamlike versions of the self.

Pale pinks match with deep reds, turquoise and cream - clothing and backgrounds graded like sweet cinematic palettes. Perez's editorial works have appeared in Vogue Italia, Vogue Arabia, METAL Magazine and others.

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Santiago Perez explores the concept of relationships and the romantic gaze. False eyelashes point upwards from a dewy plane of skin.

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Wat past bij elkaar?
Gil Yefman - Betty thompkins - 🤬 museum

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- Geef een lichamelijke performance waarin de bewegingen jouw identiteit weergeven.

- Geef een vorm aan de grens tussen man en vrouw.

- Leg de grens tussen man en vrouw vast op papier

- Fotografeer de grens tussen man en vrouw.

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Wat zou ik bij elkaar zetten?
Marlene dumas - Melanie bonajo - hands do no touch

Breng het lichaam tot de essentie, vertaal deze essentie in een installatie werk.

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Gespeeld door een knallende all queer cast. Op zoek naar een nieuwe fantastische wereld waar queerness de norm is. Ontsnap aan vast omlijnde ideeën over gender, wees 'in between' en "move on"!

Een queeste naar identiteit gemaakt door een diverse groep acteurs en performers. Na Trojan Wars regisseert Noël Fischer deze energieke performance.
Regisseur Noël Fischer maakte eerder de met sterren overladen voorstelling Trojan Wars. Waarvoor ze de Gouden Krekel won & de Procenium Prijs voor Kostuumontwerper Carly Everaert. Daarnaast won Bram Suijker de Louis d'or voor beste mannelijke hoofdrol.
Hot avonden zetten je aan het denken: QUEER IS HOT

De HOT is het podium waarop Het Nationale Theater inzoomt op thema's die in onze voorstellingen aan bod komen. QUEER IS HOT is een avond rond de voorstelling Queer Planet. Kom ook op maandag 21 november in de Koninklijke Schouwburg.
QUEER IS HOT

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Gespeeld door een knallende all queer cast. Op zoek naar een nieuwe fantastische wereld waar queerness de norm is. Ontsnap aan vast omlijnde ideeën over gender, wees 'in between' en "move on"! Een queeste naar identiteit gemaakt door een diverse groep acteurs en performers. Na Trojan Wars regisseert Noël Fischer deze energieke performance.

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Maakt een naaktfoto zonder naaktfoto, met behulp van je niet-intieme lichaamsdelen.

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Pas de 'naughty' emoji's zó aan, dat ze voldoen aan een realistisch beeld.

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David Hammons “Body Prints, 1968-1979” The Drawing Center / New York | | Flash Art

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David Hammons’s “body prints,” his early works on paper, are a groundbreaking series that launched the artist’s career. The technique entails coating the body, typically the artist