Presentations: Worlds that World
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In this first edition of ‘Worlds that World’ Kunstfort bij Vijfhuizen offers space to a selection of four initiatives to expand their practice centered around world building.

On Saturday, July 2nd at 15.00h the participants of ‘Worlds that World’ present their educational interventions (performative lectures, workshops, etc.) at the Kunstfort and is a translation of one month of makers’ research under the guidance of the Kunstfort. This presentation is in English, free and open to all enthusiasts.

The audience will separate in groups and will -under supervision of volunteers- move between four presentations around the fort. The presentations are interactive and might involve movement.

The fort and the Ge­nieloods are ac­ces­sible for wheel­chairs, mo­bility scooters, walkers and prams but for the time being the penin­sula is less ac­ces­sible. There is a wheel­chair ac­ces­sible toilet in the Ge­nieloods. The Kunstfort can be vis­ited with an as­sis­tance dog, pro­vided it is on a leash. If you have any questions regarding your specific needs, please feel free to reach out to Mechteld (

Worlds that World
Over the past years huddled voices became increasingly louder in reaction to the clusterfuck of multiple crises (Wxtchcraft, 2021) shaped by trauma and desperate need of survival. In times defined by capitalism, ableism, white supremacy and patriarchy, these voices experience a lack of space and resources to dream another world: “The late Mark Fisher once famously said that it’s easier to imagine the end of the world than it is to imagine the end of capitalism. The same could be said about prisons: it is easier to imagine the end of the world than it is to imagine a world without prisons.’’ (Wang, 2018)

Without space, how can dreams that are dreamt and worlds that are worlded stay undefined by – and ultimately end – repetitive threatening forces? We need an exercise of visioning and dreaming skills (Mingus 2017, as quoted in Wang 2018). We need to push ourselves to dream in vibrant sounds and loud colors.

What shape and color is accountability? What is the sound of abolition?

The initiatives
Following the open call, Kunstfort has selected the following initiatives:

Noam Youngrak Son
Noam Youngrak Son is a queer communication designer based in Ghent. The main question of their practice is about less normative methods of disseminating deviant narratives. They attempt to convey the stories of marginalized bodies which often include that of themselves into designed forms that do not conform to the cis-hetero-normative and colonial power structure.

Paula Garcia Sans
Paula Garcia Sans is a visual artist with a background in linguistic studies. She is based in Amsterdam and works at the intersection of filmmaking and transmedia. In her work she speculates about time, technology, and environments.

Pete Ho Ching Fung
Pete Ho Ching Fung is a designer and writer based between Vancouver and the Netherlands. Informed by his nomadic background, his research-led practice explores how design can be used as a medium to critically engage with and question the understanding of our interdependence – the politics, the aesthetics, the colonial histories and the logics. Often working between mediums, his works have been exhibited and published at MIT Press, Het Nieuwe Instituut and Helsinki Design Museum among others.

Scores for Gardens
Scores for Gardens is a self-organized, interdisciplinary research initiative working with performative and pedagogical tools since 2019. It exists of Katrine Leth Nielsen (Copenhagen), choreographer and performance artist Juan Felipe Amaya Gonzalez (Berlin), curator and writer Angeliki Tzortzakaki (Amsterdam) and was recently joined by transdisciplinary designer Toni Brell (Amsterdam). Taking as a starting point the multilayered concept of the garden, they collectively practice the nourishment of support structures that foster embodied research and reciprocal learning.

More information and theoretical context in the handout.

Image: Large pollinator field in Park Vijfhuizen. Photo: Mariken Straat

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