In the context of the 3Package Deal Stichting NDSM-werf, Over Het IJ, and Das Theatre formed the coalition Urban Realm. This coalition supports a just graduated Das Theatre artists within the context of the Urban Realm of NDSM. This edition, the 3Package Deal artist is freelance performance maker, writer and performer Fariborz Karimi. 
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• Can you first of all introduce yourself and say something about your artistic practice in general?

My name is Fariborz Karimi. I am a theatre maker, and I completed my master's at DAS Theatre in Amsterdam (AHK) in 2023. Before that, I lived in Tehran, Iran, where I earned my bachelor’s degree in theatre directing and acting (2012). My practice revolves around the concepts of collaboration with friends, intimacy, and self-censorship. I explore how friendships and the act of self-censorship are intertwined with the systems of the environments we live in. Additionally, exploring how to connect different realities or overlap them around these concepts is a key part of my practice, which, in my last work, led to remote collaboration.

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• You graduated with a theatre piece at DAS which the public can watch at Fringe in September, can you introduce this piece a little bit?

The piece I developed during my master’s at DAS Theatre is titled “Oh, Wild Gazelle, Where Are You?” It’s a collective dream that offers friendship and closeness, even when we, as collaborators and friends, are physically distant from one another. The piece was created in collaboration with a choreographer based in Iran, who performs and leads the piece remotely and live. Together, as a group of creators, we explore how censorship evolves in different contexts and impacts us as artists. This piece was first presented at the Cement Festival in Den Bosch in March 2024, and we will present it again at the Fringe Festival in Amsterdam in September. 
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• Would you be so kind to say something about the role of the public realm within your practice?

My research on self-censorship and friendship delves into questions of solidarity within certain groups, communal thinking, collective creation, survival and protection, cultural norms, internalized censorship, and the influence on identity in our public realms.
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• What does it mean to you to be working and living in the Netherlands now?

Living and working in a country with a significant gap between the cultural and political landscapes of my home country is definitely challenging. Navigating the privileges of the European context and finding ways to de-exoticize my work can be difficult as well. However, as an artist, I am inspired by these challenges and find it intriguing to explore how they influence my practice and creative process. 

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• What new project are you developing / working on at the moment (at Productiehuis TR in Rotterdam in the Fall) as part of the 3Package Deal?

“Whispered Dreams” is the new project I am developing in 2024-2025, which is also part of my 3Package Deal trajectory. It continues my exploration of friendship and self-censorship, delving deeper into how friendship can play a political role, even in these dark times. Collaboration is central to this work, with all collaborators being my friends. The co-writer and performer is collaborating remotely from Tehran. This remote connection, along with audience participation through text and dreams, forms the foundation of the setup. I’m developing this work through different residencies such as BUDA (Kortrijk), Hellerau (Dresden), Productiehuis Theater Rotterdam and WpZimmer (Antwerp). 

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• We would like to invite the readers to go and see your piece at Fringe in September, can you share the details of where and when with us?

“Oh, Wild Gazelle, Where Are You?” will be presented on September 12th, 13th, 14th, and 15th as part of the Fringe Festival Amsterdam. The venue is LikeMinds in Amsterdam Noord, and tickets are available on the Fringe Festival’s website. https://amsterdamfringefestival.nl/oh-wild-gazelle-where-are-you/

About the 3Package Deal

Mediation for a living and working space and an individual development budget (€25.000) to talents, and guidance from an interesting and useful network - that is the 3Package Deal. This successful program of the AFK (Amsterdams Fonds voor de Kunst) and Bureau Broedplaatsen of the City of Amsterdam in cooperation with 45 renowned Amsterdam organizations, which open their network, knowledge and venues to them, is now considered best practice in the field of talent development.

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Check out Charmaine on her website and Instagram.‍

Charmaine, you graduated from the Master Photography and Society at the KABK. Where does your love for photography and images come from?

When I was a kid, I got an analog toy camera. I remember the discussions about how many photos I took and the costs of developing them. I loved capturing moments. I also used to browse through the magazines my mom read and was intrigued by a photo of Inez van Lamsweerde and Vinoodh Matadin. In that photo, two women are standing on racing bikes wearing shorts; one holding a raketje (ice cream), while a rocket takes off in the background. That image has always stayed with me; it had something absurd, but everything was right. It may not seem so special with the digital tools anymore, but this was back in the 90s. I was blown away by this photo as a little girl.

Years later, I visited an exhibition of Gregory Crewdson and I fell in love with images. In a video, he showed how he set it all up, and the idea that a concept could be captured forever fascinated me, and then I realized that you could create anything you wanted with photography. I now use my visual work to confront people with the colonial past and its influence on contemporary society. Sometimes I can also be provocative about this. I also see images as a tool for education and dialogue, and to highlight topics that don't get enough attention.

How would you describe your own practice, what is currently keeping you busy in your work?

As a person of color, I find it crucial to visually depict our experiences. My work often focuses on my Surinamese and Dutch cultural background, with a specific focus on colonialism. I mainly use photography and work a lot with archival material. I see working with these archives as a method to decolonize them and bring out new perspectives.

Recently, I completed the start of my project “Een geketende Reis” (A Chained Trip), a project with video, photography and an experiential performance. The central question here is: what does it feel like to have been enslaved in the past? During the performance, the audience was taken into the terrible journey of the enslaved and became an active part of the experience. This project was part of the anniversary year of slavery in Alphen aan den Rijn. Currently, I am working on further developing this project.

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You can't change the whole world with art, but art can change someone's thoughts and perspectives.

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In addition, I am currently working on other projects that highlight the colonial past in different ways and each have a different focus. There are countless stories about the colonial past that need to be told, and I always select another specific topic to highlight. Hopefully, this will encourage people to become aware of the deep-seated impact of colonialism on our current society and history.

You are one of the alumni of the QISSA development process for visual image-makers. What did this process bring you?

I still often think back to my participation; it was a special experience that brought me a lot. It was the best exhibition opening I've ever experienced: very diverse, and the sense of inclusion was strong. I met a lot of new, fun people. The masterclasses were both educational and fun! My participation has given me skills that I can use for the rest of my artistic life.

As a project, I created a book, “The Netherlands is the Best”, that explores and reveals the absurd remains of colonialism that are still entrenched in Dutch society. It started with finding an ad on Marktplaats about necklaces that were once used on enslaved people, and led to much more research. We were given the artistic freedom to develop our vision. Without this freedom, the book would never have become what it is today. We were appointed a coach; mine was Ashley Röttjers, and we had conversations with the exhibition curator, Guinevere Ras. Their guidance and support really made me grow within the project.

What role do you think art and storytelling can play in social change, including looking at your own projects?

You can't change the whole world with art, but art can change someone's thoughts and perspectives. And that person, in turn, can influence others, causing a chain reaction of change, no matter how small or large. Maybe that person changes the minds of two people, but maybe six people. An example of this is a message I once received from someone who told me about my book “The Netherlands is the Best” at school. For me, this illustrates the ripple effect: someone sees my work and then shares it with others. This is how the message spreads.

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My experience as a maker has given me a great deal of insight into the themes of the colonial past and its influence on the present.

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I think art makes difficult themes accessible, it stimulates reflection and awareness, and art projects can promote social change through education and storytelling.

Together with QISSA, we invited you to work as an NDSM Young Curator in NDSM's public space. What made you respond to this call?

I worked as a co-curator several times, and the idea of organizing my own project about the colonial past has been in my head for a while now. In order to do this properly, I want to learn more from professionals about organizing projects/programs and being a curator. The Young Curator project offers the opportunity to learn and do this! I hope to learn how to bring a complex topic to the public in a good way. It is a valuable opportunity to develop new skills and apply them later in future projects.

How do you look at this place? How familiar are you with the terrain?

I think the NDSM-wharf is a special and unique place in Amsterdam. The site is accessible to various target groups, which for me contributes to inclusiveness. I have been to NDSM several times; I watched street art there and, of course, also visited the museum. I also think street art plays an important role at the NDSM-wharf. I used to hunt for treasures at the IJ-Hallen and went there for parties. As a result, I am aware of the versatility of the terrain and the ways in which it is used, which I want to include in the development of the intervention.

What challenges and opportunities do you see within the project?‍

I see it as an interesting challenge to address a diverse target group. I also see the weather as a challenge, I hope it stays dry during the program! I find young makers fascinating, both recent graduates and self-taught artists, and I prefer lesser-known artists who haven't had much exposure yet. So I hope to make new connections with that during the project.

You work as an artist and maker, and as an NDSM Young Curator, you will work more in the role of curator or program maker. How do you look at that?‍

For me, these roles are interrelated. My experience as a maker has given me a great deal of insight into the themes of the colonial past and its influence on the present. Research is an important part of my artistic practice, and I include this knowledge in my role as Young Curator. I think my background as a maker also allows me to empathize well with the artists. I understand the challenges they face. Both roles complement each other and have the same goal for me regarding the theme of the colonial past and the impact on contemporary society.

Can you tell us how the “sense of belonging” theme became a common thread in your projects?

It took me many years to figure out where I belonged, after leaving my very intense, close-knit family home. My grandmother was French, my grandfather and great-grandfather and mother were nomadic and had grown up in a European circus, my father and uncle were classical musicians, and my Scottish mother was a textile artist. We lived in Holloway, London, and I went to the local school. Very early on, I realized that the children at school had a completely different family life than me. I tried so hard to fit in, but I always felt like an outsider. At home, however, I felt loved, belonged and felt very safe. Once I left the house, I had to search for my own sense of “belonging” for a long time. I tried to replicate the sense of family that I had loved so much, but eventually I realized that wasn't what I was looking for. I believed that belonging was one definite thing, probably due to underlying conditioning by education and society, but in reality, belonging is individual and doesn't have to be what you think it should be.

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NDSM is an ever-evolving place with an existing community and new communities that are constantly growing.

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Finally, 20 years after leaving home, I discovered what it meant to me. For me, that was having space and freedom to express myself and be in a relationship where I'm embraced and encouraged to be myself. I need to be loved and have someone to love, but I realized I don't need that by being a mom, which is a big step for a woman to admit that to herself.

Once I understood what feeling at home meant to me, I set out on a mission to discover what it means to others and how understanding the complexities of feeling at home can bring communities together.

What do you think this theme means in a dynamic place like NDSM or Amsterdam-Noord?

NDSM is an ever-evolving place with an existing community and new communities that are constantly growing. By doing the workshops, I gained insight into different perspectives. It was clear that some people saw change as a threat and others saw it as an exciting future. From an outsider perspective, it felt very important that all groups spoke to each other and began to see what the possibilities could be as soon as they began to understand each other.

You did workshops with individuals from Amsterdam (North) as part of the project. How did these workshops influence the development of the artwork?

By listening and understanding different points of view. All the phrases and words used in the installation come from the words people wrote down in the workshops to express how they feel about what's happening, how they'd like to see the future, and what feeling at home means to them. Seeing the energy and creativity in the workshops was incredible. All participants were fully engaged and wanted to share their thoughts and opinions. There was a passion for living in a developing place and they were part of that evolution. Living in a place where they experienced huge changes and learned how to deal with them. Some people weren't too happy and wanted to be heard, while others wanted new things to flourish.

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Belonging can be very fluid and different for everyone, but at the same time a collective experience.

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The workshops brought out a lot of feelings, passion, joy, anger, questions, discussion and emotion. Some stories were about the past and some were enthusiastic about the possibilities. Great personal events were shared and together, an image was formed of a new strong community. The poet Mahat Arab summarized this perfectly in his poem that resulted from these conversations.

“(Leave) Space for Space” aims to create a sense of belonging within the community. How do you see the artwork promoting connections and resonating with the people, both residents and visitors to NDSM?

I hope that the words and phrases that came out of the workshops and now adorn the installation resonate with the community and passers-by. The words are exactly as they were written in the workshop. It's important to me that when I create a collaborative installation, participants can recognize themselves in it and that they feel a sense of ownership and belonging.

Having worked with many communities around the world, I always feel very privileged to have had the opportunity to sit with people and listen to their stories. I'm always impressed and grateful how generous people are with their thoughts and ideas and how much they enjoy sharing and wanting to be heard. I often feel humbled to be just part of the process. Looking for belonging is so important in people's lives. It is not fixed, it is individual. You can find and lose belonging, or choose to look for a different sense of belonging at different points in your life. Feeling at home can be very fluid and different for everyone, but at the same time a collective experience.

The NDSM Open Call was born in 2018 from a mutual wish between Stichting NDSM-werf and Stichting Kinetisch Noord (NDSM Loods) to highlight artistic initiatives specifically from the so-called “breeding ground” of the NDSM shipyard. The NDSM shipyard is a place for art, culture and creative ingenuity, and the resulting ideas are often inspired by this ever-changing area and are of great value to its identity.

For this reason, the NDSM Open Call was created; the assignment has remained essentially the same in those years: submit an idea for a cultural intervention at NDSM. No distinction is made between art form, medium, subject, specialty, area of interest or material. In principle, the type of projects is also completely open: from performance, to art installation, to festival, everything goes and everything is possible. The projects must be realized at NDSM (in the outdoor area or inside the warehouse) and can be seen and visited by the public.

With this information under our belt, we've received nearly 100 submissions from creators and creatives at the site over the past few years. An ever-changing program council decides which entry (s) can be realized that year.

2018

In the first year of the NDSM Open Call, no less than three entries won: The Birds - Hélène Min (2018), The Dutch Nightingale - Eibert Draisma (2018), The Street Theater Festival - Pieter Post (2018) (support).

De Vogels| Hélène Min (2018)

An animated film inspired by the Greek comedy of the same name that commented on the cramped city and meddling residents. From her studio under the X slope, Hélène makes birds from fish skins that become completely transparent when they dry. The light in the old slipway brings the birds to life.

In the animated film, two Athenians leave the city and call on the birds to build an ideal city in the sky. The subjects of Ancient Greece translate into the present in De Vogels.

De Hollandse Nachtegaal| Eibert Draisma (2018)

The inventor and designer Eibert Draisma is exceptionally inventive and inventive. His work is driven by an unceasing fascination with how things work and the why behind them. As part of the NDSM Open Call, Draisma created a proposal for an interactive songbird machine: via Bluetooth or Spotify, visitors can decide for themselves which song the Dutch Nightingale sings to them.

2019

In the second year of the NDSM Open Call, several winners also emerged: Henk Schut — Right Of Way (2019), Babok, Guido Bevers and Carina de Wit — PolderCoaster (2019), Marc Faasse — Document NDSM Street Art photography (2019), Marc Faasse — Document NDSM Street Art photography (2019), Balthasar Prinsen — Ascending (2019).

Document NDSM Street Art photography | Marc Faasse (2019)

Based on the constantly changing street art at the NDSM shipyard, Marc Faasse with NDSM Street Art Document would like to photographically document the transition that the NDSM is currently undergoing.

Right of way | Henk Schut (2019)

Right of Way was a sound installation at the former skate park in the NDSM Loods (now NDSM Fuse). On this “attic”, visitors were able to take a break from the speed of daily life and urban developments in Amsterdam. Using a self-designed computer algorithm, a spatial game with 64 speakers was created with simple sounds. In the almost empty space, visitors noticed how they rocked the hall into a sounding board.

PolderCoaster | Babok, Guido Bevers and Carina de Wit (2019)

Babok was founded in 2005 to make visual theatre for public spaces. Polder Coaster is in the words of Babok the “absurd, theatrical version of a roller coaster in the form of an energetic, hilarious and highly interactive street show.” The NDSM Open Call further supported this project in 2019.

Ascending | Balthasar Princes (2019)

Ascending was an idea of Princes where he turned the North Strip of the NDSM Loods into the roof of a cathedral with arches. The North Strip has been called (an industrial) cathedral many times and Prinsen wanted to create a new place for silence, encounter and gathering where metal used to be melted and forged with lots of sounds. This project was finally realized in 2021.

2020

In 2020, the NDSM Open Call must be adapted to a drastically changing world, due to the consequences of the corona crisis. The new assignment: “Visualize what the future use of public space might look like in whatever form”. It still needed to be publicly accessible, so this year the initiative had to be on the shipyard's outdoor site. The famous winner: The Museum of Unintentional Art (MOK)).

The Museum of Unintentional Art (MOK) does not put the artist on a pedestal, but the visitor and his imagination. They do this by placing everyday objects or compositions in a museum context. This often results in hilarious interventions in the public space.

2021

The 2021 NDSM Open Call still had limited options due to the consequences of the corona pandemic. Nevertheless, there were two winners this year: Animal Factory by Luca Boscaridn (2021), and Public Air Filters by Anne Jan Reijn (2021).

Animal Factory | Luca Boscardin (2021)

With 'Animal Factory', toy designer made from the NDSM warehouse Luca Boscardin playful elements for the urban jungle of the NDSM shipyard by creating minimalistic animals. A positive picture at a difficult time when animals are taking over more and more cities, because people had to stay inside. The multifunctionality of his animal kingdom fits the use of the site; for example, they served as a play object, alternative sports equipment or meeting place.

Public Air Filters | Anne Jan Reijn (2021)

In cooperation with New Dakota, Anne Jan Reijn three large air filters in NDSM's public space. As a result, Reijn made the visitor think about invisible dangers in the air that we surround ourselves with and that we breathe. How healthy is this air really? By filtering a little bit of air into the public space, a question was immediately raised: is the rest of the air, which is unfiltered, perhaps not to be trusted?

2022 and 2023

Unfortunately, there were no winners of the NDSM Open Call in 2022. The last edition of the NDSM Open Call in 2023 had a longer production period, allowing the winners to realize their work in 2024. Creators Catarina Garcia and Jim Du Pan realized this year Under Pressure with half the crane as a base on the NDSM wharf. With this work, the artists highlight the cycles of transformation of the NDSM shipyard, an area that has moments of crisis and destruction but also stages of revival and redevelopment. All information about this work can be found at the culture page.

Also listen to the podcast episode NDSM X Caterina Garcia and Jim Du Pan.

2024

Registrations for the NDSM Open Call 2024 are now open. Do you have a studio or workshop at NDSM and do you have a good idea? Let us know! Click here for more information about this year's NDSM Open Call.

Can you introduce yourself to the DGTL audience and provide insight into your artistic journey and the themes you explore in your work?

My name is Sioe Jeng Tsao, also known as SEEYOUSIOE, and I'm a queer artist and activist of Chinese origin, born in Amsterdam.

Your work explores various social themes such as LGBTQIA+ rights, mental health, feminism, sustainability, racial justice, and gender equality. Can you explain why these topics are important to you and how you believe art can contribute to these discussions?

These social themes are deeply important to me because they reflect my own experiences and the challenges I've encountered. By creating art around these topics, I can share my perspectives and contribute to greater awareness.

How does art serve as a catalyst for encouraging contemplation and discussion about important social issues?

Art has a unique power to spark conversations, challenge perceptions, and inspire action. By addressing these issues through my artwork, I strive for empathy, understanding and positive change in society. I believe that art serves as a catalyst for important discussions and can ultimately lead to a more inclusive and just world.

Your creation for the container arch, entitled EMPOWER, encourages reflection, encouragement, and the celebration of love. What inspired you to address these specific themes in your artwork?

The inspiration behind my artwork 'EMPOWER' comes from seeing Amsterdam's changing landscape, especially for the LGBTQIA+ community. From once being a haven, I've seen a shift where many within our community are marginalized and unheard. “EMPOWER” serves as a response to this transformation and strives for reflection, encouragement and the celebration of love. It symbolises a call to action for unity and solidarity within the LGBTQIA+ community, emphasizing that we are stronger together. The container arch acts as a gateway to a space of strength, acceptance, and support, where individuals from diverse backgrounds can find comfort and empowerment.

How do you believe that festivals play a role in promoting dialogue and awareness about these critical social issues?

Festivals serve as powerful platforms for promoting dialogue and raising awareness about critical social issues. They can bring diverse audiences together and provide immersive experiences through art, music, and performance, encouraging the reflection and dialogue we need. By collaborating with local activists, artists, and organizations, festivals can increase their impact by connecting participants with more resources for further engagement. I believe that festivals, like art, can serve as catalysts for starting conversations and promoting positive social change.

And what does it mean for you to show this piece in the context of NDSM's public space, outside the specific festival audience?

Exhibiting this artwork in a public space increases its impact beyond the festival audience, making it a symbol of empowerment and visibility for the LGBTQIA+ community and beyond. It will be a statement of inclusion and acceptance, inviting individuals from diverse backgrounds to connect with the message of solidarity and love. “EMPOWER” increases its ability to initiate conversations, challenge perceptions, and inspire positive social change on a wider scale.

Can you provide insights into your creative process? How do you generate ideas and how does the environment or placement of your art influence your work?

My creative process is deeply rooted in my own reality as a queer woman of color. I draw inspiration from my personal experiences, navigating through different social contexts and identities. In addition, I actively seek diverse perspectives by reading books, attending events, workshops and panels from different backgrounds. This exposure allows me to broaden my understanding and empathize with a range of experiences that people navigate.

What emotions or reactions do you hope to evoke from viewers when they experience EMPOWER?

When experiencing “EMPOWER,” I strive for viewers to not only experience a sense of solidarity and strength within the LGBTQIA+ community, but also pause and recognize that queer love doesn't always come naturally. By framing “EMPOWER” as a verb, I want to emphasize the active process of empowering and celebrating love. I hope the artwork evokes feelings of encouragement, hope, and reflection, inspiring viewers to consider the significance of inclusivity and empathy in advocating for social change.

In the course of 2021, designers Sue Doeksen, who has had a studio in the NDSM Loods since 2012, and graphic designer Jord Noorbeek, commissioned by the NDSM-werf Foundation, set to work to renew the shipyard's hostess. The reason to change from being a shipyard icon right now is to show that the shipyard is far from standing still and to pay tribute to all future eyes who will see the arch for the first time.

The container arch welcomes every visitor to the NDSM shipyard; from festival-goer to visitor to walker. Unfortunately, the usually so bustling and lively area remained a lot quieter than other years last year. Nevertheless, we are looking forward to the future as bright as the container bow, and we thought it would be a good time to look back at all the different appearances the bow has taken so far.

2018

The bow was born in 2018, when the festival DGTL wanted to add something new to the festival site for that year's edition. In collaboration with artists from the shipyard, the arch was initially created with a black appearance with white lettering on the head that spelled DGTL. Anyone who has had the pleasure of ever visiting DGTL knows that this event is about discovery, inspiration and surprises. The festival is characterized by its industrial atmosphere and free-spirited character. A stage for both established artist and beginning DJ. It is precisely for these reasons that the bow was and is a special part of the festival.

Surely it means something that he is still there and that a different picture is given to it every time.

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After this successful year of the festival, the bow was left behind at the shipyard as a relic for practical reasons: a reminder of yet another successful edition of DGTL. But instead of falling into ruin, the arch turned out to be a key figure in the shipyard and began her own life.

After DGTL 2018, almost every festival or event at the shipyard has adopted the bow as part of the site and added its own flavor. Sometimes an entrance for visitors, sometimes a detour in the walking route on the site or a triumphal arch that offered some shade at the shipyard on the hot days. But above all, a place where many dances have been daring over the years. Legend has it, that if you put your ear close enough to the bow, you can hear the people partying! Partly because of this, but also because of the changeable weather in North Amsterdam, the bow was often the result of a restoration round where the current colors were slightly enhanced again. This is also the case in 2019 when the Drumcode festival organized their event at the Docklands (the square between the two warehouses) and provided a great opportunity to refresh the paint layer again.

The licks of paint that the bow has now received can no longer be counted on one hand. In addition to the fact that the container arch has often been repainted, she has also often had temporary faces. By means of canvases, light projections or other innovative ideas, event organizers at the NDSM shipyard gave the container arch their own twist.

“It certainly means something that he is still there and that a different picture is given to it every time,” says Petra Heck, curator at the NDSM-werf Foundation. “It's such a remarkable sight on the shipyard, it's pretty special that he keeps changing with the times”. A great example of the icon in full glory was, among many others, the Elrow festival. With the theme “Together we make magic happen”, Elrow is a festival of color, creativity and, above all, a lot of craziness. In 2018, the festival took place at the NDSM shipyard and used the container arch as an eye-catcher on the site. By using emoji-like icons, another layer of paint and huge inflatable animals, the organization gave its own interpretation to the arc.

2021

Now the bow is black, blue and white. Inspired by Eberhard van der Laan's last words to the people of Amsterdam — who enjoys their own portrait at the Docklands right behind the arch — the words “Be kind” originate in geometric shapes on the arch. The text is disguised in both form and color and is part of a larger graphic work, so the message is not easy to decipher at first glance. The back looks like an abstract halo. The sides show the versatility of the NDSM shipyard: an owl that represents wisdom and magic and a court jester that symbolises fun and fun. This new identity of the arch gives a somewhat quieter impression compared to the fierce, screaming graffiti artworks on the rest of the Docklands. But maybe this is exactly what makes the design so appropriate. The shipyard is a home for experimentation and contrast that the iconic container arch does not escape either.

“It's also about the recurring question: when does something belong to the public space?” says Petra Heck. “The underlying idea of this new design was also to add to the bow's familiar role. So far, it has been a festival beacon for many people; with this new jacket, he might become a bit more part of the public space. He welcomes everyone who visits the shipyard, not just those who come with a ticket to an event.”

Where the NDSM shipyard would normally buzz around this time with the cautious first musical sounds of the festival season or the first outdoor stalls of the IJ-Hallen, it still remains to be seen when and what will be possible on a large scale at the shipyard. With a bit of luck, the shipyard icon can welcome the required number of people again this year. For example, DGTL 2021 has been moved from Easter weekend to September in the hope of organizing a full batch again after the summer. Until then, the container arch is still the shipyard's steadfast icon, welcoming everyone who comes to take a look and reminds us to be kind to each other, especially at this time.

Curious about another glimpse into the process of editing the bow? During the podcast NDSM X, Ewa Scheifes (programmer of the NDSM-werf Foundation) and Petra Heck spoke to creators Sue and Jord about how to redesign such a familiar object on the shipyard. You can find the link to this episode here:

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