For several years now the foundation has explored themes such as Vulnerability to Group Fanaticism, Freedom, Friendship, Collective Memory, the Female Perspective, Diversity (Perplex), Masculinity(ies) and Archival Power.
With these programmes rich in artists' intervention, academic inputs, research and public talks, H401 strives for a continuous deepening of issues relating to second class citizenship, homogenic narratives of the past, contested heritage as well as legacy of colonialism and totalitarian regimes.
Through artistic means and devices, H401 promotes a thriving cultural programme that encompasses themes of memory and (contested) heritage resonating with diverse communities.
Her examination piece, a large print after a self-portrait by Jean-Honoré Fragonard entitled L’Inspiration, gained her a Mention Honorable, Section Gravure at the 1931 Salon.
As from 1942, the flat hosted Wolfgang Frommel too and shelter was given to two young boys of Jewish origins: Buri Wongtschowski and Claus Victor Bock, respectively 23 and 16 years old at that time.
Frommel knew about them given his connection to the Quaker School in Ommen, Overijssel (NL), where Buri was a teacher (painting and drawing) and Claus a pupil.
Gisèle was aided by the neighbours on the floor above hers, Guido Teunissen and Miep Benz, who offered the possibility to rent a bed for Claus.
[3] Throughout the war, Gisèle economically provided for the house which proved to be difficult as she was not allowed to accept official assignments, publicly expose, or sell her work.
[...] Depending on the inclinations of the educator, the erotic element could be limited to a chaste passion or a longing at a distance, but could also take the form of an actual sexual encounter or relationship, legitimised by Greek principles.”[3] Frommel became acquainted with it via the work of the German poet Stefan George whom he looked up to as a literary model.
[3][5] Parallel to Gisèle's growing work assignments and reputation in the post-war years, Gisèle had several exhibitions and built further on her reputation as a renowned stained glass painter, in 1952 Frommel returned to Amsterdam, to the Herengracht and with a circle of close friends he gave life to the German publishing house Castrum Peregrini, based at the Herengracht 401.
[7] Although Gisèle had financially supported the activities of the publishing house as well as its own career, it was only in 1957 that she had sufficient funds to buy the entire Herengracht 401 building.
Due to the inheritance received after her mother's death (1955), Gisèle was no longer tied to extreme financial needs, she was able to explore different art and painting expressions.
In the years following the marriage, Gisèle stayed from the spring to the late summer in Paros, Greece, where together with Arnold she had rehabilitated an isolated monastery in ruins into their residency.
In 1998, she received the Righteous Among Nations, a recognition issued by the Yad Vashem – The World Holocaust Remembrance Centre (Israel) as non-Jewish person that protected Jews during the Nazi persecution.
In January 2008, a major change took place within the foundation its publishing activities were discontinued and the organisation became a public cultural centre taking the name Castrum Peregrini - Intellectual Playground.
The new programme focused on the intersection between artistic research with the core values: vrijheid vriendschap en cultuur (freedom, friendship and culture).
The symposium concluded with a discussion with Joke Haverkorn van Rijswijk about Wolfgang Frommel and his friendships, in connection with her publication, moderated by Nicole Colin, Professor at the University of Amsterdam.
During the weeks the participants followed activities organised by the hosting partner (e.g. workshops or seminars), conducted field research and worked on several publications available here in the Heritage, Memory and Conflict Journal (University of Amsterdam)[17][18] Co-funded by the European Parliament.
HCZ[21] drew on the complexity of European history: its accomplishment, and cultural flourishing accompanied by chapters of colonial and totalitarian violence as well social injustice and marginalisation of “other” communities.
The European Academy of Participation (EAP)[22] brought together 10 partners from all over Europe, including higher education institutions and arts and culture organisations.
Through essays, conversations and journal entries, the final publication European Academy of Participation – Benchmarks, reflections and challenging practice on the interface between academia and the creative sectoroffers an extensive overview of the project's ambitions and outcomes.
These sites share a strong potential for future public use that can incentivise the reception of our present through historical lenses, creating new spaces for awareness and dialogues.
Rooted in the field of adult education JETE reflected on the themes of migration, inclusion, freedom and tolerance through the lenses of cross disciplinary cultural tools.
H401 conducted a series of lectures on Spinoza aimed at exploring the philosopher's thoughts on tolerance and their possible adaptation in our society[29] Throughout the years H401 has joined the following networks: CAE is the only cross-sectoral network representing all sub-sectors in culture: from performing arts, literature, visual arts, design and cross-arts initiatives to community centres and more through over 210 members from more than 30 countries.
[30] A global platform that aims to enable, engage and empower individuals, organisations and communities through arts and unlikely alliances to generate meaningful change and shape a humane future, together.
This ICOM (International Council of Museums) branch commemorates victims of the State, of socially determined and ideologically motivated crimes.
[33] A global network of historic sites, museums, and memorials that are dedicated to the promotion and protection of human rights, and transnational justice across the world.
[34] Kunsten ’92 is the interest group for the entire cultural and creative sector composed of more than 440 members from all disciplines, from the arts to new media, design, museums and monuments, and from makers to organizations.
[35] Funding scheme for the European performing arts sector which facilitates international networking and supports inclusive, diverse, and green touring projects across the 40 Creative Europe countries.
It aims to connect these stories to a wide audience and communicate with policymakers about the underdeveloped themes and how to reach diverse layers of society.