Rachel Refael (b. 1992) is a multidisciplinary artist and designer with roots in Canada and a current residence in Rotterdam. Refael earned her Bachelor of Fine Arts from the University of Calgary in Alberta, Canada, in 2018, and furthered her academic journey with a Masters of Arts in Interior Architecture from the Piet Zwart Institute, Willem de Kooning Academy in Rotterdam, Netherlands, in 2021 In 2020, she established 166 BRUT, an interdisciplinary research and design practice that explores informal histories, gender dynamics, and our interconnectedness with the environment.
Peeping Spaces - On our return, being curious to see the amusements of a playhouse, we were conducted to the most celebrated one. But, my stars! what a scene!—I have never heard Amsterdam mentioned but these playhouse were esteemed a principal curiosity. — A Tour in Holland, in MDCCLXXXIV. by an America. //The overarching emphasis on individual architects, often white and male, puts metropolitan landscapes under the influence of the male gaze and its desires, marking planning as a strictly heterosexist project. There is a gaping absence of women and queers in architecture, or more accurately, the overlooked presence of these individuals in architectural histories and practices. The aim of “Peeping Spaces” is to legitimize the existence of the district and the individuals that depend on it. It critiques the bureaucratic processes and surveillance that attempt to “purify” and smooth” districts like De Wallen. As such, within the context of this upcoming exhibition; the visitors will encounter other forms of space making that were developed to guard the residents from the municipality's damaging policies. *The research will be exhibited in Arcam on Sept. 5. 2024, and in collaboration with The Prostitution Information Center. **This project was researched in collaboration with Gavin Oliver O'Leary and Milena Sekulic
Shellshock – intertidal garden - Oyster dear to the gourmet, beneficient oyster, exciting rather than sating, all stomachs digest you, all stomachs bless you. — Seneca //
The space functions as a curated sanctuary, blurring the lines between interior and exterior realms while symbolizing human dominance over nature. It also serves as a reflection of historical narratives related to migration and colonialism. Through this project, aquaculture is introduced as a distinctive form of gardening, encouraging visitors to interact with water and embrace the influence of non-human entities.
Each section of the garden pays tribute to various artistic themes that have influenced our perceptions of gardening and agriculture, offering a diverse and
immersive experience.
Perma Hortus Conclusus - ‘It’s a very remarkable circumstance, Sir,’ said Sam, ‘that poverty and oysters always seem to go together.’— Charles Dickens (1837), The Posthumous Papers of the Pickwick Club. //
Until the 19th century, oysters and mollusks remained the most popular food available to all segments of the population. In wealthy households, they were used to prepare a variety of dishes: baked in pies, stuffed in poultry, or simply eaten by the dozen. For the poor, oysters were a substitute for meat. It was similar in the
UK, where the streets in poor London neighbourhoods were littered with oyster shells. However over consumption have made the mollusks, mainly Oysters,
an expansive delicacy. “Perma Hortus Conclusus” isn’t a proposition to fight land erosion nor to restore large scale reservation sites. Rather, it is an intimate spatial proposal that focuses on revitalising long traditions of foraging, and maintenance through knowledge of local environment and the embodiment of care. The aim of the project is as follows:
1. Providing the tools for locals to practice foraging with care and attention to detail
2. working with local municipalities and institutions to provide an integrated map for allocated spaces for foraging.
* This project was Pre-Selected for Hungry
Ecocities open call by S+T+ART.
** Moving forward, The project will continue to
be developed in collaboration with Studio Berkveldt
Floatation Therapy - The Zuiderzee has been diked and soon it will be dry. They finally got it small. Where once the slender fishing boats sailed on the wind — Louis Davids, 1933 // The Zuiderzee project emerged as a collective effort to combat and mitigate natural disasters, a pursuit that gained greater justification following the devastating Dutch floods of 1916. Unfortunately, this endeavor resulted in the displacement of communities deeply connected to the sea and required meticulous reconfiguration of the reclaimed land as the Zuiderzee was no longer considered as “productive”. Therefore, Flevoland should not be perceived solely as an agricultural or industrial complex, but rather as an expansive enclosed garden. It signifies a departure from its original intended natural state and embodies an imitation of the perceived unidirectional ideal landscape to feed the kingdom. Unfortunately, this logic also applied to the sea's former residents in the Island of Urk and Schokland. Rather than allowing the patches of land within the Zuiderzee to be subjected to the natural ebb and flow of tides over the course of centuries, the reclaimed land enveloped the islands, leading to an influx of new residents. Considering the complex relationship the Netherlands has with the history of the Zuiderzee and its future, Floatation Therapy explores how we can navigate the challenges ahead. If we anticipate an eventual sinking, how can we proactively address future narratives and prepare for future excavations? By these questions, we can ensure addressing a more cohesive and sustainable approach to the future of the region. This project was developed during The New Makers Program
Waste Haven - Made in collaboration with Milena Sekulic.
This artwork was created as a gritty "cartographic" portrayal of Rotterdam's industrial area and its influence in shaping the city into an urban industrial complex. Crafted with the use of CNC and resin, the piece serves to expose the industrial waste landscape, utilising materials sourced from the very area it represents. This approach highlights the interconnectedness of the artwork with its subject matter, as it is not only a representation of the industrial area but also a reflection of the materials that define it.
Virtuous Bodies - Virtuous Bodies is designed as an additional layer for the project “Made to Disappear”. The AR's purpose is to indicate the selective visibility which many sex workers must navigate within the public sphere. Instagram Filter: https://www.instagram.com/ar/402617644820895/
Made to Disappear - “In these terms, self-control of a woman, which is to say the production of her identity as a woman, can only be obedience to external law.” — Mark Wigley (1992), Untitled: the Housing of Gender. //
“Made to Disappear” delves into the dynamics of the living room as a site of performance, influenced by the repercussions of the exclusion of prostitution from the public sphere under Bill C-36. Drawing from interviews with a Canadian sex worker based in Calgary, the project examines her spatial navigation within the
confines of her home. Through an investigation into the delineation between
private and workspaces for sex workers operating from their residences, “Made to Disappear” sheds light on the living room’s transformation into a stage impacted by the enforced removal of prostitution from public view. Within this exploration, all materiality within the project carries traces of the outside world, disrupting the notion of domesticity. By stripping away ornamental comfort and incorporating multiple spatial references, the project confronts and challenges conventional perceptions of the domestic space.
Boombox Hofbogen - In recent years, Agniesebuurt has blossomed as a crucial hub for musicians. However, commercial development and the pandemic have caused a scarcity of performance venues. Introducing the concept of the interactive boombox interior—a dynamic solution utilising the arch underneath the bridge as a stage for community and musical events, streamed performances, and daily interaction.
This instillation approach aims to fosters inclusivity, cultural revival, and social cohesion within the scene of Agniesebuurt as many studio spaces are at risk of being demolished.
By reimagining interior spaces, we can sustain creativity and strengthen community bonds between the artists and local residents despite external challenges. This interior is meant to be forever open to the public; and own by none.
T.1883.1411 - Made in Collaboration with Eva Garibaldi.
This project represents the colonial collection of the Rotterdam World Museum and the absence of objects from the original homes. It takes a post-structural approach towards the duality within museums as they are dealing with their colonial past and its violent nature.
Not the prettiest corner in the room - Made during a workshop with the indigenous artist Brett Graham.
In this piece, I tried to deconstruct the meaning of the beautiful corner (красный угол/krasnuiy ugol ).
Due to restrictions placed on the Soviet Union's Jewish Diaspora, they were unable to establish their own cultural spaces, such as placing a mezuza within communal and domestic spaces. As a result, the community developed a distinct perception of interior spaces within a predominantly Orthodox Russian society.
