anna andrejew

How do we care without controlling? How do we nurture something already “compromised” like polluted soil? And how do we reconnect with water and soil ~ the elemental, the poetic ~ as modern city people, knowing our care might only be temporary, that the land will eventually be built upon again? ~ In this research, I make large sheets of paper pulp outdoors using discarded cardboard, found construction nets, and organic matter. Something like mulch, but also like countermaps~ an urban ritual. Working with what breaks down, I learn that what falls apart can also become the beginning of new stories, rhythms, and reflections. Here a glimpse of this process, one of the biggest sheets/membranes/skins I made so far in an urban fallow field in Moerwijk The Hague Dec 2025. Part of my research project for @adma_antwerp Second slide includes traces of a small collaborator 🐾 ~

Listening for what cracks, what leaks, what asks to soften 𖦹 ׂ 𓈒 ⋆ ۪ Still resonating from last week in Lisboa .•* So grateful for the Listening Academy ~ a gathering to practice elemental collaboration ♡ . Through site-responsive, collective practices; repurposing street cardboard, composting words into new stories, making space for reflection ~ we explored how attention, care, and imagination grow through what falls apart, inviting porous, regenerative spaces where materials, thoughts, and relationships shift together. . Breakdown not as failure, but as a gateway ~ a husk opening, an interruption in extractive orders. In bodies and inner landscapes, breakdown can surface as moments of fatigue, hesitation, or sadness ~ often framed as undesirable or unproductive ~ emerging across society as responses to systemic pressure. Breakdown is not a privilege: for some, it is everyday reality; for others, engaging with it becomes an ethical and relational practice; a way of slowing, softening, and re-attuning to processes of creation–decreation | composition–uncomposition~ . A grammar of animacy learned through holding, waiting, caring~ With love and deep thanks to the expanding constellation of beings who held this affectionate, porous space of listening and imagination with such generosity ✨ ✨ @listeningbiennial @b_llabelle @pespiedra  @margarida___mendes   @taru_elfving  @juanppachecob  @radiogardening  @institution.ing.s  @camgulbenkian  @mikhailkarikis  @ping_amor  @del_baul_el_betun_  @lkoz_lov  @_ninafraser_  @la_art.zyx  @anna.orlikowska  @spatifilium_  @iradepuno  @emilyorley  @molly.astley  @alex_delittle  @michellelewisking  @vocaignis  @inesmaritaschaerer  @ayayaykok  @melainabarnes  nico_espinoza luisa___santos___ Meriam, Francesca, Pedro ♡

𝑨𝒏𝒕𝒊-𝑪𝒍𝒂𝒔𝒔: 𝑨 𝑪𝒂𝒓𝒓𝒊𝒆𝒓 𝑩𝒂𝒈 𝒐𝒇 𝑷𝒓𝒂𝒄𝒕𝒊𝒄𝒆𝒔 — a collection of stories, reflections, and experiments from this summer’s artist residency at B32 in Maastricht. @anticlassresidency Written by Sjoerd Beijers (initiator), Işıl Çakmak, Jo Cioni, Halar Soomro, Floris Janssens, Samira, anna andrejew, and a counter-recipe by Somæ, this publication gathers participant stories in a non-hierarchical, open-ended way. Designed by @sjoerdbeijers . Printed at Jan van Eyck Academy. Food appears as a recurring thread, a shared act carrying both conviviality and contradiction, memory, and entanglements with colonial violence and environmental collapse. Take your time. Read across, in between, and around. Untie the string. Spread everything on the floor. The stories are distinct yet interlinked, an invitation to learn, unlearn, and hold space with us. The publication is now available at Limestone (Maastricht), San Seriffe (Amsterdam), Page Not Found (The Hague), Tique (Antwerp) and more bookstores to follow. Publication launch included our performative tool for re-commoning public space 𖦹 ׂ 𓈒 ⋆ ۪

Join us for the next Letters to a Grieving Land event: a background afternoon @huisvanhetboek on the making of the publication, highlighting the people (and processes) behind the book. Together with Bertus Gerssen @stencilwerck and anna andrejew @annaandrejew we’ll speak about the radically slow process that guided the production of this book: from gathering soils, making pigments, creating seed-encrusted paper to working with live inks and printing with vintage stencil machinery. This is the time to meet the printers, the authors and to hear more about how the book came into being through time, care, and soil(s). 29 May, 15:00–17:00 Huis van het Boek, The Hague

hello, this is @annaandrejew again ~ . how do we care without controlling? how do we nurture something already “compromised”, like polluted soil? and how do we reconnect with water and soil ~ the elemental, the poetic ~ as modern city people, knowing our care might only be temporary, that the land will eventually be built upon again? . one of my methodologies is collecting for example, gathering cardboard from the streets and turning it into pulp sheets on urban fallow lands~ something like mulch but also like countermaps ~ an urban ritual perhaps .•* a way of working with what has already been discarded and letting it become something else again . photos 1-2 by Xiao Yu @nature_of_rotterdam last slide includes traces of a small collaborator 🐾 ~

hello, this is @annaandrejew again ~ some places that insist on being part of my research: construction sites disturbed ground fallow spaces compost heaps .•* places that never stay still long enough to be fully known~

Dust is never singular .•* it gathers quietly and insistently, carrying traces of human and more-than-human worlds across bodies, landscapes, and time. It moves across visible and invisible boundaries, geological, political, and intimate. What does it hold, where does it come from, and how does it shape the conditions of life and contamination alike? Through shared gestures of noticing and handling, a year ago dust became a way for me to think about extraction, exposure, and interconnectedness. Small particles of soil, skin, minerals, and debris revealed themselves as carriers of memory and relation, unsettling distinctions between life and death, presence and absence~ Nearly a year later, these traces resurfaced through a collaborative process with Steffie de Gaetano, unfolding into a collective zine, a reading group, and a performative spatial text. Words, like dust, circulate, settling, lifting, and forming again .•* What lingers is not a fixed outcome but a shared sensitivity to the unnoticed, the dispersed, and the fragile ways we hold stories together ꩜ . Thank you to the organizers and curators of “This Holds Debris Together” for the invitation. Thank you to all participants for your time, curiosity, and presence. We came together at the Begijnhof, UHasselt, Faculty of Architecture, March 5, 2026. A special thank you to Steffie de Gaetano, Kseniia Obukhova, Josymar Alfonzo Rodriguez, Weronika Kozak, and Louise Mazet. And my other spring school companions who joined ♡ Photos by @whosaidxe @w.ko_zak last two slides are from my contribution to the collective zine ♡ @steffiedegaetano @josymarcita @loui_zet @mervebekkktas @becaboca @julianarestrepog @elizabethgallondroste @inesns

I am beyond proud to share LETTERS TO A GRIEVING LAND, a collective publication, made together with Bertus Gerssen @stencilwerck and Zineb Benassarou @atelier_znb with contributions from Annechien Meier, Yvonne Bos, Tamara N. Lewis Arredondo, Arina Adju, Amy Gowen, Beatrix Futák-Campbell, Marjolein Ossewaarde, Maitiú Mac Cárthaigh, anna andrejew, Kate Price, Michelle Teran and Su Yang @annaandrejew @marjoleinossewaarde @maitiumaccarthaigh @amygow @kate_rebecca_price @suyoyang @laboratoryformicroclimates @beatrixfutakcampbell @michelle_ubermatic @tuinderij.de.knotwilg @citizenshipdebates @arina_adju LETTERS TO A GRIEVING LAND examines the concept of ‘traumascapes’ - landscapes that retain the imprints of past traumas. Through a series of essays and personal letters, the book addresses how these scarred environments influence our collective resilience, focusing on the agency of a landscape beyond human-centric optics. Printed with soil inks, each copy includes a unique, plantable paper containing seeds provided by the authors symbolizing the potential for ecological and cultural renewal. This interdisciplinary work offers a investigation into the memories held by landscapes and the possibilities for healing and transformation. You never create alone and I am so grateful to all those, human and more-than human, that worked on this special book with me. You can get your hands on a copy very soon, with launch events coming up @kioskrotterdam and @huisvanhetboek 💙

𝑾𝒉𝒐 𝒅𝒓𝒊𝒏𝒌𝒔 𝒉𝒆𝒓𝒆? On 6 March we walked the site at Plimsollweg, near Sloterdijk, a plot under construction. Fenced, excavated, and in transition, it might look empty, but water still moves through it ~ rain in depressions, damp soil, and hidden groundwater and aquifers beneath ꩜ We countermapped who depends on this water. Birds along the harbor, plants at the margins, microorganisms in the soil, urban systems, and eventually the future data centre. Together they form a network of overlapping uses and flows .•* Even in its disrupted state, the site is already in use, shaped by ecological and infrastructural processes that continue beneath and around the surface~ . Data Centre Walk organized by @sibirio @papertrail_world_ and @yancongphoto from the UvA Critical Infrastructure Lab ♡ , most photos by @sibirio 🙏

As part of the ARIA seminar Methods in Artistic Research in Antwerp, we’ve been invited to present our work within the theme The Threshold of Co-Creation. Our contribution continues our exploration of how knowledge, memory, and matter might emerge relationally. We move between practices of archiving, cooking, mapping, and listening. Fermentation accompanies us as both method and metaphor, attentive to care, unpredictability, and transformation, and to the ways human and more-than-human processes unfold together. During the session, we’ll open up these questions through a small shared gesture: tasting a ferment together, writing a 𝒄𝒐𝒖𝒏𝒕𝒆𝒓-𝒓𝒆𝒄𝒊𝒑𝒆 and reflecting on what it might mean to co-create with materials, microbes, and each other. We’re curious how co-creation takes shape, where autonomy meets entanglement, and how practices can remain porous, relational and unfinished. If you’re around in Antwerp on March 30–31, feel welcome to join, listen, taste, and think with us~ tickets are free (link in bio) . Photo from a Kommunity Kraut session organized at Spinozahof with Sophie Krier.

Arrived by post this week: 𝙇𝘼𝙉𝘿𝙄𝙉𝙂: 𝙀𝙭𝙩𝙚𝙣𝙙𝙞𝙣𝙜 𝙩𝙝𝙚 𝙀𝙘𝙝𝙤𝙚𝙨 (Vol. 2, 2025)~ Holding it in our hands feels different. 𝙏𝙚𝙣𝙙𝙞𝙣𝙜 𝙩𝙝𝙚 𝙐𝙣𝙛𝙞𝙣𝙞𝙨𝙝𝙚𝙙 ~ 𝙃𝙤𝙬 𝙙𝙤𝙚𝙨 𝙖𝙣 𝙖𝙧𝙘𝙝𝙞𝙫𝙚 𝙩𝙖𝙨𝙩𝙚? is part of this issue, alongside many inspiring contributions reflecting on artistic research, documentation, and the ways material lingers, transforms, and echoes. As @_.somae._ , we continue exploring archiving as something alive through land, food, digestion, and memory, and through practices that lean toward the relational, the non-extractive, the more-than-human. In the article, we draw a parallel between (counter)mapping and recipes: just as maps guide movement, recipes guide our engagement with time, material, and community. Our 𝒄𝒐𝒖𝒏𝒕𝒆𝒓-𝒓𝒆𝒄𝒊𝒑𝒆𝒔 are invitations to multiple perspectives and to shifting attention from product to process. Collective cooking and communal recipe-writing can become ways of digesting together ꩜ We approach fermentation both literally and conceptually as a method of care, unpredictability, and relation. And think of recipes, like archives, as never fixed, but unfolding. Knowledge here emerges through activation rather than preservation. Grateful to be part of this echo, extending .•* Curious to hear what resonates with you~ (link to the article in bio~) ~ third photo is my mom reading the article ♡

𝑻𝒉𝒆 𝑶𝒓𝒅𝒊𝒏𝒂𝒓𝒚 𝑺𝒐𝒄𝒊𝒆𝒕𝒚 𝒇𝒐𝒓 𝑲𝒊𝒏𝒅𝒏𝒆𝒔𝒔 𝒕𝒐 𝑨𝒍𝒍 𝑨𝒏𝒊𝒎𝒂𝒍𝒔 𝒊𝒏 𝒕𝒉𝒆 𝑨𝒓𝒕 𝑾𝒐𝒓𝒍𝒅 𝑴𝒂𝒏𝒊𝒇𝒆𝒔𝒕𝒐. TOSKAAAW @t.o.s.k.a.a.a.w Published by Poetic Pastel Press @poeticpastel in 2025. 𖦹 First presentation held at 𝐒𝐭𝐫𝐨𝐨𝐦 𝐃𝐞𝐧 𝐇𝐚𝐚𝐠 @stroom_den_haag in the Netherlands last November, with organic herbal teas, a community reading of the manifesto and conversation - the event was free to all. 𖦹 𖦹 𖦹 𖦹 200 copies printed in Oxford and hand-bound in our atelier in rural Oxfordshire using linen thread, with some Hope in each of the folded pages. Purchase a copy via my online shop (link in profile) and in person at: * Camden Art Centre Bookshop, London * Dessin @dessin_books - Tokyo * Malda @malda.kyoto - Kyoto * Tododo @totodo_books - Tokyo * Good Press @good_press - Glasgow * Stroom Den Haag, Den Haag * Antenne Books (forthcoming) ISBN: 978-1-0369-6287-6 Forthcoming translations into French & Korean. 𖦹 𖦹 𖦹 𖦹 We find it troubling that cultural places like to talk about the 𝗺𝗼𝗿𝗲-𝘁𝗵𝗮𝗻-𝗵𝘂𝗺𝗮𝗻, with plants and rivers (amongst others) often at the forefront, yet as soon as the discussion opens to human and non-human, sentient beings whose pain we know and their exploitation in the arts we can't pretend to hide, then there is often no space in the 'programme'. If you are a little braver and wish to do more, or (part of) a forward-thinking and (deeply) compassionate bookshop, art centre, gallery, or cultural space that wishes to support this independent initiative, please reach out. We (The Ordinary Society for Kindness to All Animals in the Art World) would love to hold more (free) events. 𖦹 𖦹 𖦹 𖦹 𝐓𝐡𝐞 𝐦𝐚𝐧𝐢𝐟𝐞𝐬𝐭𝐨 𝐰𝐚𝐬 𝐟𝐢𝐫𝐬𝐭 𝐩𝐮𝐛𝐥𝐢𝐬𝐡𝐞𝐝 𝐨𝐧𝐥𝐢𝐧𝐞 𝐟𝐨𝐫 𝐚𝐥𝐥 𝐭𝐨 𝐚𝐜𝐜𝐞𝐬𝐬 𝐢𝐧 𝟐𝟎𝟐𝟒 - 𝐭𝐨𝐬𝐤𝐚𝐚𝐚𝐰.𝐨𝐫𝐠 ..... Special thanks to: @jatindersinghdurhailay @75w.studio @annaandrejew @embizzy and those who 𝒂𝒄𝒕𝒊𝒗𝒆𝒍𝒚 𝒃𝒆𝒍𝒊𝒆𝒗𝒆 that a kinder world for all is possible and make it happen. ♡♡♡ #johannatagadahoffbeck #poeticpastelpress #TOSKAAAW #appliedethics #ecofeminism #environmentalphilosophy #Relevanceofsentience