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👁️ On view in ENTER/PUBLIC/SPACE: Mapping Solidarity for Palestine and their evolving installation.

Mapping Solidarity for Palestine is a collaborative artistic and activist working group based in Amsterdam. For this presentation, the wider group of 16 is represented by Saja Amro, Elektra Tatalia-Aloupi, Alina Lupu, and Samuel Salminen.

Mapping Solidarity traces and makes visible the networks of solidarity with Palestine in Amsterdam. Through workshops, the group reflects together on recent pro-Palestine actions, campaigns, and boycotts — asking what has worked, and how we build stronger, more coordinated networks. The working group sees mapping not only as a way of representing solidarity, but as a practice of solidarity itself.

Join the next workshop this Thursday at 18.30h. Bring your questions, your knowledge, and let’s help the map grow together! Soup will be served 🍜

Sign up via link in bio.

Pictures:
1: Pieter Kers
2-5: Peter Tijhuis taken in Rozenstraat by @elektra_ta

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23 days ago

🧭 Mapping Solidarity traces and makes visible the networks of solidarity with Palestine in Amsterdam.

Through this participatory workshop, we invite art and culture workers, activists, and participants to reflect on recent pro-Palestine actions, campaigns, and boycotts across cultural, educational, and public spaces.

The map facilitates conversations around key questions: What has worked? Where have we fallen short? How can we strengthen our networks, resist fragmentation, and build more coordinated strategies toward our shared aims?

For this presentation, the wider group of 16 is represented by Saja Amro, Elektra Tatalia-Aloupi, Alina Lupu and Samuel Salminen.

Come and contribute to the big map! There will be soup with bread for the hungry ones. .

📅 Thursday 24 September
🕘 18.30-20.30

Register via link in bio (free!) taken in Rozenstraat by @elektra_ta

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a month ago

As we start the 2026-2027 new academic year, the Architectural Design department looks back on the graduation works of our recently graduated students.
ELEKTRA TATALIA-ALOUPI
Binding Care
…A room is still a room, even when there’s nothin’ there but gloom
But a room is not a house and a house is not a home,
When there is no one there that holds you tight…
A House is not a Home,
Burt Bacharach and Hal David, sung to me by Dionne Warwick.
Through the process of binding, I collect and trace what it is that defines a space beyond bricks and concrete. In particular, I dive into the spatial manifestations of care and even more so, how we can better acknowledge and create space for care.
Walls become paper, intentions smell of ink and glue, threads or staples suggest a new form. I invite hands to fold, cut, glue and bind until we have made thought tangible.
Image credits: Lucía del Valle Ramírez by @elektra_ta

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a month ago

Elektra, Architectural Design Department

Elektra graduated with two interconnected works, Mapping Care and Binding Care. Both projects have their starting point from Elektras graduation thesis, which examines how architecture holds violence towards the non-conforming body.
Rather than only exposing these structures, the works question how care can be recognised, practised and collectively maintained within them.

Mapping Care is a collaborative publication developed over the course of seven months together with more than one hundred staff members from the Gerrit Rietveld Academie.
Through conversations with and photographs of the hands that shape and hold the institution - department heads and teachers, workshop instructors, cleaners, facilities staff, canteen workers and security - Elektra maps the many ways care is practised, both personally and institutionally.

The publication guides the reader through the workers’ hands and their perspectives, making visible the many forms of care that hold the academy together.

Binding Care takes this research a step further. Built by Elektra, the mobile one-person bookbinding station became the site of a daily participatory workshop during the graduation show. Around the table, visitors were invited to reflect on how educational institutions shape the ways we learn to see and understand the world around us, questioning which voices, histories and identities have been centred by institutional curricula and which have been overlooked or excluded. Each day’s conversations, drawings and written reflections were bound together into a collective “new history” book, transforming discussion into a growing archive of alternative perspectives.

After the graduation show, Binding Care will be “on tour” for various alternative Book - stores and - fairs, as well as function as a tool at the biannual exhibition at the Stedelijk museum that focuses on collaborative artistic practises, where Elektra as part of Mapping Solidarity for Palestine, a Platform BK working group will join the exhibition in November 2026.

Once its travel comes an end, the project will… [the rest of the text is in the comments section!!] taken in Gerrit Rietveld Academie by @elektra_ta

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3 months ago

From July 1st to 5th, the Graduation Show takes place at the Gerrit Rietveld Academy. In the days that led up to it and during the show, we invite you to have a closer look into the process behind the works of the Architectural Design graduating students:

Elektra Tatalia-Aloupi @elektra_ta

Mapping care

Somewhere between Athens and Amsterdam, somewhere between social and architectural design.

Investigating what holds a space in ways that bricks and concrete couldn’t. Elektra is showing her work “mapping care”: a collaborative / interactive publication that invites the viewer to unfold the different kind of care staff member of the Gerit Rietveld Academie utilise. The project is accompanied by a book binding table where conversations will start and books will be bound. Go find her at RV 318, from 1-5th of July at the Rietveld Academie. by @elektra_ta

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3 months ago

Met trots laten we graag weten dat ‘Mapping Solidarity for Palestine’, een werkgroep van Platform BK, een van de deelnemers is aan de tentoonstelling Voorstellen voor de museumcollectie 2026 van het @stedelijkmuseum.

[english in comments]

De werkgroep bestaat onder anderen Saja Amro @sajaamr , Sarah Kuhail @sarahkuhail , Alina Lupu @theofficeofalinalupu , Hilda Moucharrafieh @hilda_moucharrafieh en Elektra Tatalia-Aloupi @elektra_ta .

Onder de titel “Mapping Solidarity. Mapping the Silence”, gaan we een reeks participatieve workshops organiseren in het Stedelijk Museum Amsterdam met kunstenaars, activisten, bezoekers en medewerkers van het museum. Daarbij brengen we in kaart welke infrastructuren vorm geven aan het idee van institutionele ‘neutraliteit’.

In plaats van de vraag te stellen of het museum "een standpunt inneemt", onderzoekt Mapping Solidarity:
Welke materiële infrastructuren produceren die zogenaamde neutraliteit?
Hoe beperken financiële, politieke en reputatiestructuren de handelingsvrijheid?
Waar liggen de drukpunten voor structurele verandering?

In ons werk wordt het in kaart brengen van deze relaties en posities een artistieke en politieke methode om onderzoek te doen naar de financiering, de organisatie van bestuur en toezicht, en de politieke druk en tegendruk binnen deze instelling, die immers van ons allemaal is.

Deze editie van de tweejaarlijkse tentoonstelling staat in het teken van ‘collaborative artistic practices’ en richt zich daarmee op artistieke praktijken die geworteld zijn in collectieve benaderingen van werken, denken en maken. Op basis van een open call ontving het museum 746 inzendingen, waaruit 15 voorstellen zijn geselecteerd door kunstenaars, makers en ontwerpers die structureel, incidenteel of tijdelijk samenwerken. Een selectie van de werken zal worden aangekocht voor de collectie van het museum.

De tentoonstelling is te zien van 28 november 2026 tot en met 4 april 2027. by @elektra_ta

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5 months ago

Looking back to look forward. This is a visual summary of our stay at @puntwg and in particular its closing ceremony.
Done in order to not forget Palestine and the many bonds it formed and the marks it left on how we make and come together 🇵🇸.

When it comes to exhibitions I find there are two approaches to documentation. There’s the Contemporary Art Daily route - objects in rooms completely devoid of people. and there’s the opening shots - glasses of wine in hand, familiar faces, friends, family, all catching up, nobody talking about the works, everybody happy to be there. I mean, you had to be there! So, how to summarise where we were for one week when we made AFTERMATH? Us in this case being (@eirini_imin, @elektra_ta, @babbelbel, @freja_noehr, and myself, and for the closing ceremony @sajaamr, @masssamama, @commongroun.d, and @wassila_ )? How to summarise what we made when what we made was more a space, than a show, a carving out and an attempt at a temporary autonomous zone? It’s already been more than a month!

What follows is both CAD shots, courtesy of the @puntwg photographer (Studio Plancius), and attempts at capturing what it was really like while being in it - an overlap and interweave of thoughts and works and being together.
One of the clear highlights of this year that has opened my appetite for working together.

To many more similar overlaps and interweaves in the years to come! Either together or apart! :)
Thank you!

Also to @ninaharra, @smarirobertsson for hosting us, of course. taken in puntWG by @elektra_ta

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10 months ago

$𝐎𝐩𝐞𝐧𝐢𝐧𝐠 𝐚𝐭 𝟏𝟕:𝟎𝟎 𝐨𝐧 𝟐𝟓𝐭𝐡 𝐎𝐜𝐭𝐨𝐛𝐞𝐫 𝐚𝐭 𝐏𝐮𝐧𝐭 𝐖𝐆, 𝐰𝐢𝐭𝐡 𝐚 𝐜𝐨𝐥𝐥𝐞𝐜𝐭𝐢𝐯𝐞 𝐫𝐞𝐚𝐝𝐢𝐧𝐠 𝐚𝐫𝐨𝐮𝐧𝐝 𝐭𝐡𝐞 𝐰𝐨𝐫𝐤 𝐨𝐟 𝐅𝐫𝐞𝐣𝐚 𝐍ø𝐡𝐫 𝐊𝐫𝐢𝐬𝐭𝐢𝐚𝐧𝐬𝐞𝐧 𝐚𝐧𝐝 𝐀𝐧𝐧𝐚𝐛𝐞𝐥 𝐒𝐭𝐞𝐮𝐫𝐬, 𝐰𝐢𝐭𝐡 𝐰𝐨𝐫𝐤𝐬 𝐛𝐲 𝐄𝐢𝐫𝐢𝐧𝐢 𝐊𝐚𝐤𝐨𝐩𝐢𝐞𝐫𝐨𝐮, 𝐀𝐥𝐢𝐧𝐚 𝐋𝐮𝐩𝐮, 𝐚𝐧𝐝 𝐄𝐥𝐞𝐤𝐭𝐫𝐚 𝐓𝐚𝐭𝐚𝐥𝐢𝐚-𝐀𝐥𝐨𝐮𝐩𝐢.⁣ ⁣ Resistance is not stillness. It is not polite. It is movement, fracture, insistence—a living language spoken through bodies, wrestling.⁣ ⁣ Coming into the Aftermath, we ask you not to view each work as isolated, but to see them together—and to see yourself within them.⁣ ⁣ We gesture toward making, writing, and thinking together. Toward dialogue—behind the scenes and under the glare of the spotlight. We’re not interested in art detached from context, too absorbed in aesthetics to engage politics, too afraid to face our tears, fears, desires, and anger. That feels untruthful, and dull.⁣ ⁣ This work arises in the aftermath of two years of protest against genocide in Palestine: shaped by grief and defiance, urgency and resistance, reckoning with mediated violence.⁣ ⁣ The exhibition is not neutral ground. It is contested, alive—a site of struggle. We reject the passivity of display and claim space as unstable, insurgent, alive. Scenographic. Sonic. Archival. Collaborative. Not categories but tools—ways of holding each other accountable.⁣ ⁣ Within the exhibition, we resist finality. We refuse to conclude. We ask for risk, rage, joy, togetherness, and regeneration.⁣ ⁣ 𝐒𝐢𝐝𝐞 𝐩𝐫𝐨𝐠𝐫𝐚𝐦𝐦𝐢𝐧𝐠:⁣ 𝘛𝘩𝘦 𝘈𝘯𝘵𝘪-𝘐𝘮𝘱𝘦𝘳𝘪𝘢𝘭𝘪𝘴𝘵 𝘙𝘦𝘢𝘥𝘪𝘯𝘨 𝘎𝘳𝘰𝘶𝘱 — Oct 28, 18:00–20:00. 𝘛𝘢𝘭𝘬 + 𝘴𝘤𝘳𝘦𝘦𝘯𝘪𝘯𝘨 𝘣𝘺 @eirini_imin — “Who is Karagöz?” Oct 29, 18:00.⁣ 𝘊𝘰𝘭𝘭𝘢𝘨𝘦 𝘸𝘰𝘳𝘬𝘴𝘩𝘰𝘱 𝘣𝘺 @eirini_imin — Wed Oct 29 14:00 & Sun Nov 2 14:00. 𝘊𝘭𝘰𝘴𝘪𝘯𝘨 𝘊𝘦𝘳𝘦𝘮𝘰𝘯𝘺 — Nov 02, 14:00 — 𝘊𝘰𝘭𝘭𝘢𝘨𝘦 𝘸𝘰𝘳𝘬𝘴𝘩𝘰𝘱 @eirini_imin 18:00 — 𝘖𝘱𝘦𝘯 𝘐𝘯𝘷𝘪𝘵𝘢𝘵𝘪𝘰𝘯 𝘵𝘰 𝘫𝘰𝘪𝘯 @commongroun.d & 𝘧𝘦𝘢𝘴𝘵, 𝘥𝘪𝘨𝘦𝘴𝘵, 𝘢𝘯𝘥 𝘳𝘦𝘧𝘭𝘦𝘤𝘵 𝘵𝘰𝘨𝘦𝘵𝘩𝘦𝘳. Poster courtesy of @eirini_imin 🫶🏻! Made possible with the help of @afk020 and @cultuurfonds taken in Amsterdam, Netherlands by @elektra_ta$

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a year ago

Bachelor thesis designed and produced by my close friend, roomie and forever inspiration Elektra Tatalia-Aloupi @elektra_ta 🫶🏼

“13 - Encounters in Pathbreaking”
This little adventure of thesis writing became the most beautiful textile-like book, through the brain and hands of Elektra. Each chapter aligning with pictures of my weaving from my graduation work on the backside.

The thesis is a series of encounters with people at night clubs like @sexyland_world and @clubchurch , conversations with @christin_j , rehearsal moments with @anlleelmaria , thoughts during @patchworkfamily.official events and many more encounters and reflections through this last year in Amsterdam. So proud of this little queer life I build for myself, and extremely happy about this honest and direct thesis text.

All these encounters with silence, the number 13, discovering the trickster, how one thing leads to the next, being a puttedreng, growing up with Rudolf Steiner teachings and unraveling artists like Hilma at Klint - thrown together in 13 chapters, where one thing quickly leads to the next.

It’s possible to buy the book, 6 out of the 13 editions are still available (each one containing a few fibers from the weaving). Either sold at Næstved Kunstforening or in my DM’s 💫 by @elektra_ta

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a year ago

Liberation Vision 04:
Lebanon, A Piece of Sky in order for me to write poetry that isn’t political I must listen to the birds, the warplanes must be silent. - Marwan Makhoul

Join us for a special event in the Liberatory Visions series, a thought-provoking exploration of freedom, resistance and liberation through independent film, talk and workshops. Two recent films by contemporary Lebanese filmmakers Lawrence Abu Hamdan and Dania Bdeir take us to the skies above Beirut:
The Diary of the Sky, Lawrence Abu Hamdan (2024), 45 min
As a large part of the world is brought to a standstill by the pandemic, and an unpredicted silence takes hold, artist Lawrence Abu Hamdan sets out to document the noise level in Beirut, which has dramatically increased. The roar of generators, working hard to make up for the lack of electricity, a reflection of the complete ondifrence of the Lebanese state - is mingled with the dull roar of Istaeli army drones and fighter planes flying over the country relentlessly, and which the artist inventories using data collected from the United Nations digital library, in a website of his own creation. Thanks to its particularly astute and eloquent narration and editing, The Dairy of a Sky offers an ironic yet serious examination of the militarization of airspace, and its use as a training ground, whose scope broadens to including global politics, ecology, the unbridle investment of nations in military aviation, as well as conspiracy conspiracy theories and the disinformation rife on social media.

Warsha, Dania Bdeir (2022), 15min
Mohammad is a crane operator working in Beirut. One morning he volenteets to take on one of the tallest and notoriously most dangerous cranes in Lebanon. Up in the skies, away from everyone’s eyes, he is able to live out his passion; finding freedom and a moment of personal liberation. taken in Gerrit Rietveld Academie by @elektra_ta

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2 years ago

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BLACK LIVES MATTER
take it further by @elektra_ta

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6 years ago

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