PRINCE CLAUS EXCHANGE, Mehdi Ouahmane

2026

In July 2026, three Nieuw-West institutions participated in the Prince Claus SEED exchanges. Buurtwerkplaats Noorderhof selected artist Mehdi Ouahmane for a one-month residency at their location. During this time, I was asked to partner with Mehdi for his residency, providing advice, documentation and his exhibition text.

Mehdi’s exhibition was presented at Centre of Attention, a temporary gallery located on Lodewijk van Deysselstraat.
_______________

Four Weeks in Five Minutes: Recapping a residency through brief encounters

Four weeks slips by before you’ve even caught your breath; a flurry of meetings, shared meals, early mornings and too many opportunities. It’s equal parts fascinating and terrifying how quickly life moves! But what I find most interesting about looking back is noticing what has stuck with you even when time feels like it’s flown. Although Mehdi Ouahmane arrived in Amsterdam for his artistic residency at Buurtwerkplaats Noorderhof under the guise that something would be researched, produced and presented, he was also thrust into the bustling world of Amsterdam Nieuw-West with all its distinctive and inspiring cultural characteristics. And whilst yes, the exhibition adorning the new gallery space ‘The Centre of Attention’ is a snapshot of his experience here, there are many more intangible happenings that have led to this moment; connections, discoveries and interactions that are formative for an artist and their practice when granted the opportunity to partake in an international residency.


By focussing on the ephemera that have made this trip to Amsterdam unique, I wanted to build a somewhat accurate picture of what life is like in residence. The artistic outcomes we present are important - I would not dispute that. But what keeps creative momentum going, and what sustains relationships between people, cities, countries, is a genuine curiosity and interest shown in the people behind the art. Getting to know Mehdi through sporadic conversations, a long walk, and this brief interview gives fleshy human form to the Prince Claus Exchange Programme. From this form, a longstanding relationship can be built; one that sees an artist return to the site of residency sometime in the future knowing that they have the personal and professional connections needed to pick up where they left off…


Hi Mehdi - it’s quite surreal that your time at Buurtwerkplaats Noorderhof is nearly over. If you take a moment to look back, what memories have stuck with you from your first visit to Buurtwerkplaats Noorderhof? What were your initial impressions?


I would say maybe the greenery. And the lake! But overall, the people and the community that are working here are really welcoming. I don't want to be that kind of resident that just says nice things, but generally people are really kind. I wish I could have been there more often, but you just start to get to know the city, and then suddenly it’s the Summer break. However, people really like to suggest things that will help residents to get by, and to get to know the spaces in Nieuw-West.


Also the ducks! So many ducks! These were the first impressions that I have.


I know that this isn’t your first international residency, and that your creative practice has often taken you to other cities around the world. What do you usually find yourself doing when you first arrive in a new place? What are you usually most excited to discover?


Well, first of all, the basic thing to know about is the groceries - it’s so basic, it’s not deep, I’m sorry! But to adapt, I try to have my markers - groceries are an important way to get to know the neighbourhood; where to get your things.


For me, when I go to residencies internationally it’s way easier to get to know the city through the people that invite us. People who visit foreign countries often take very touristic pathways of discovery, which I hate the most. In artistic circles it’s way easier to get to know the true essence of the city which is way more interesting to me to discover and to learn.


And speaking of residency rituals and groceries, did you pack anything especially unusual but important to you for this trip?


I’m glad you asked! When I travel I always take my bottle of olive oil - it’s olive oil always. I know there are some good olive oils here but I just can't get over the olive oil in Morocco, you know, it's just so good. And it's the first thing that I eat with bread in the morning to get up. I mean, this is mandatory for me. The one that I brought this time, we’ve all been using it - the three of us [three artists-in-residence for Nieuw-West] - for this whole month.


Also the spices. I usually bring spices with me. Like curcumin, cinnamon, cumin, pepper, but I just didn't bring them this time. Which is kind of sad, but, I mean, we're in the Moroccan neighborhood, so it's fine. I can get my spices here.


Now to the work - what you’ve produced is undoubtedly rooted in the very specific location of your residency, namely the parks of Nieuw-West with their often unique design. What brought you to this idea? How did you first encounter the parks and what made you want to work with them?


When I was walking by myself, I noticed that Amsterdam is so clean. It's really nice, but almost like a ‘maquette’, you know, like it looks a bit like a 3D model. And it’s sometimes so empty. This is why I also asked you about the hours of work. Maybe I'm walking when everyone's at the office or whatever? But here in Nieuw West there's a big diaspora of Moroccans who go to Morocco for vacation. So it makes sense that it’s empty; no kids in the streets.


So this is how I’ve been finding these playgrounds, empty but beautiful structures. I spoke to Tobias about this architect, Aldo Van Eyck, and I found it interesting his way of thinking about the child in society after the Second World War, when there was a baby boom with a lot of kids and who needed spaces in the public realm. Seeing the playgrounds almost empty, I’ve been imagining what it means if they are not useful anymore, what use do they serve? What is the new functionality of them? They are often these abstract structures that don't give you a final idea. They can be very eerie spaces, almost whimsical.


When we were walking in the forest we talked about mythology, and kabouters and gnomes. And I really wanted to reimagine these quiet in-between spaces as a place where you have these characters living or hiding. Or, when these spaces are empty, I’ve been thinking about the other possibilities they suggest; you can play there, but also go on a date with your lover, find some friends there. Or just resting there, maybe just people smoking hashish. These are just some of my first ideas.


Yes, I can imagine after less than 4 weeks working on this project, there’s probably many directions you can imagine taking it; many avenues left unexplored. What’s next for this research?


I really wanted to think about a simple way of presenting all the concepts and the ideas that I came up with all through this residency. I'm interested in subverting the structure of the playground that we usually place on the floor, but instead placing it upside down on the ceiling. The functionality of this structure is a very obvious one if it's on the floor, it's something that people can play with, as Aldo van Eyck said. But if you put it on the ceiling, what is its functionality? It opens up another world.


At the start of this residency I was a bit too ambitious, wanting to work with iron welding and doing some structures with that. But I think it's just way too much for one month of residency. And also this is just an open studio; it’s a glimpse of the research. It’s a great opportunity to just talk to people and get to know what we can come up with later on in another residency or another exhibition, or even through another collaboration with people here. That would be very interesting! However my only regret is that I didn't spend more time in the workshop, but these technical things are something that you work on for a long time. Pepijn [de Kock] was so nice in helping me out - he taught me some welding, and I did some trials, but it didn't work out this time.


During some of our brief moments together, we’ve talked a bit about music and performance - cultural worlds that orbit but don’t immediately touch the work you produce, at least not visibly. What have you been listening to during your creative process this time? Are there any songs or sounds that have stuck with you?


You know, it's really bizarre, but when I usually go to new cities I always listen a lot to the lady that speaks in the buses or the trams. I can’t say what she says because I don't know what it is but I enjoy it. I had the same when I was on the buses in London, and the voiceover lady said “Bow Church” or “Marble Arch” or “Trafalgar Square”. I just remember places through that, and this is some sound that I bring back home.


And something that you’ve been reading a lot during your time here?


Nothing really. I was actually thinking after the Open Studio to go buy books. I usually read a lot after residencies. When I go back to Morocco I will just sleep for one week and then I’ll read.


Is there a story or a bit of advice that you want to share when you get back home?


I would say that I regret not bringing a coat. This is going to be advice for everyone: If you go to Amsterdam in summer, bring a coat.

But also, Amsterdam has been nice to me. Really! All throughout these weeks. I think I need time to think about some stories. But it's not finished yet, huh?

Peripheral People: The residency through the eyes of local residents