Compass
Four engraved metal plaques, chairs
1.8 x 9 cm each plaque, 85 x 45 x 45 cm each chair
2018

Installation view during Cool Loneliness, Home, Amsterdam, 2018 (Photo: Tamara Kuselman)

Compass
Four engraved metal plaques, chairs
1.8 x 9 cm each plaque, 85 x 45 x 45 cm each chair
2018

Situated in my living room, the dining table and chairs act as an orientation apparatus; compass. On the backs of each seat, on the wooden frame, a metal plaque indicates the name of the street located behind this chair. The typeface New West on each plaque relates further to the piece’s location in the Old West neighbourhood of Amsterdam. Compass echoes the past and future circulation of such items as furniture – remnants of belonging, souvenirs.

Cool Loneliness, as part of Home Sequence, Home, Amsterdam, NL (2018)

#installation #sitespecific #intervention #navigation #sculpture #circulation #domesticart #CoolLoneliness

Recalculating Route,

Site Specific (34),

What’s yours is mine,

Vertical Element (On-land)
Archival pigment print
34 x 25 cm (framed 41 x 32 cm)
2017

An unexpected encounter with a materialized version of Vertical Element on a beach in Greece. Created by an anonymous maker and photographed by me.

#photography #sculpture #foundscene #souvenir #possesivelandart #onland #digital #intervention

Vertical Element,

Fountains,

Absolute Countdown,

Everything Near Becomes Distant
Dictionaries, metal bookends, wood shelf
Variable dimensions [here sequence #2: 24 x 85 x 22 cm]
Ongoing (Since 2004)

Installation view during Attachment, Galerie Gabriel Rolt, Amsterdam, 2011 (Photo: Peter Tijhuis)

Everything Near Becomes Distant
Dictionaries, metal bookends, wood shelf
Variable dimensions [here sequence #2: 24 x 85 x 22 cm]
Ongoing (Since 2004)

Everything Near Becomes Distant is an exploration of meaning and words as they are translated from one language to another. The work consists of dictionaries arranged in a row, each including words in one language with their equivalents in another language. As Spanish is translated to Romanian, Romanian to German, German to Indonesian, Indonesian to Dutch and so on, the flow through the dictionaries offers a chain of meanings, which are not necessarily equivalent. The collection is eclectic in terms of publication year, edition and category. The differences between each dictionary in terms of vocabulary illustrate the difficulty of faithful translation, traveling from a single intention to an unknown destination.

Cool Loneliness, as part of Home Sequence, Home, Amsterdam, NL (2018)
Online special contribution, בשנים האחרונות גדל הבוץ – In Recent Years, the Mud has Increased, Harama magazine (2018)
Anarchic Infrastructure, puntWG, Amsterdam, NL (2016)
Invitation to the Blues, puntWG, Amsterdam, NL (2015)
Soul Seek, Internet Opera, slsk.nl (2012)
Armory, NYC, NY, USA (2011)
Attachment, Galerie Gabriel Rolt, Amsterdam, NL (2011)

#sculpture #foundobject #word #language #translation #system #sequence #series #collection #carrierofmeaning #navigation #oneofakind #CoolLoneliness #Attachment

Spells,

Ongoing Collection,

Someday He’ll Come Along,

Someday He’ll Come Along
White horse figurines, statues, toys and steel pedestal with wood top
100 x 1800 x 40 cm
2011

Installation view during Attachment, Galerie Gabriel Rolt, Amsterdam, 2011 (Photo: Peter Tijhuis)

Detail, Installation view during Attachment, Galerie Gabriel Rolt, Amsterdam, 2011 (Photo: Peter Tijhuis)

Someday He’ll Come Along
White horse figurines, statues, toys and steel pedestal with wood top
100 x 1800 x 40 cm
2011

A collection of white horses: the legendary vehicle by which our dreams will come true. The symbolism of this work is explicitly romantic, suggesting a perfect future possible through just one thing; the arrival of the one. Yet, the work frustrates its own hopefulness through the logic of a collection: the implication that more is always preferable. An accumulation without an end.

Soul Seek, Internet Opera, slsk.nl (2012)
Attachment, Galerie Gabriel Rolt, Amsterdam, NL (2011)

#sculpture #object #collection #anticipation #oneofakind #cliché #Attachment

Ongoing Collection,

Everything Near Becomes Distant,

Everybody Loves Somebody Sometime,

Too Much, Too Little, Too Late
Three paper stacks, offset print on paper
Installation dimensions variable (Stacks here 24 x 70 x 50 cm)
2009

Installation view during :-)-: at Galerie Gabriel Rolt, Amsterdam, 2009 (Photo: Peter Tijhuis)

Too Much, Too Little, Too Late
Three paper stacks, offset print on paper
Installation dimensions variable (Stacks here 24 x 70 x 50 cm)
2009

The installation consists of three paper stacks, which invite viewer to take a sheet. On each is printed one of the pairs in the title. The stacks are positioned throughout the space so that “TOO LATE” is the last, thereby guiding the viewer through the space to face each proposition singularly.The impetus for the work came from a found record featuring on one side a song called Too Much, Too Little, Too Late and on the other Emotion; two sides of the same single. The resulting sculpture inevitably changes, diminishing in height and weight throughout the course of the exhibition.

2001-2011: Soudain, Déjà, Galeries d’exposition ENSBA, Paris, FR (2011)
:-)-: Galerie Gabriel Rolt, Amsterdam, NL (2009)

#installation #sculpture #workonpaper #measurement #time #distance #word #unit #title #souvenir #rupture #homage #multiple #foundobject #emotion #:-)-:

Both Sides Now (On Shuffle),

Intervention,

Everybody Loves Somebody Sometime,

Status
Exhibition with Bas Jan Ader, Halina Kliem, Jennifer Tee
Curated by Noa Giniger
puntWG, Amsterdam, NL
2014

Status, exhibition view, puntWG, Amsterdam, 2014 (Photo: DisplayHooray)

Halina Kliem, Real World #3 and Real World #4 (2007-2008), installation view during Status, puntWG, Amsterdam, 2014 (Photo: DisplayHooray)

Bas Jan Ader, Thoughts Unsaid Then Forgotten (1973/2014), installation view during Status, puntWG, Amsterdam, 2014 (Photo: DisplayHooray)

Bas Jan Ader, Thoughts Unsaid Then Forgotten (1973/2014), detail view during Status, puntWG, Amsterdam, 2014 (Photo: DisplayHooray)

Left: Jennifer Tee, Occult~Geometry, Thought~Forms, Love~Spells (all 2014). Far right: Halina Kliem, Real World #3 (2007-2008), view during Status, puntWG, Amsterdam, 2014 (Photo: DisplayHooray)

Jennifer Tee, installation view during Status, puntWG, Amsterdam, 2014 (Photo: DisplayHooray)

Jennifer Tee, Love~Spells (2014), detail view during Status, puntWG, Amsterdam, 2014 (Photo: DisplayHooray)

Bas Jan Ader, Thoughts Unsaid Then Forgotten (1973/2014), in the making, puntWG, Amsterdam, 2014 (Photo: Noa Giniger)

Status
Exhibition with Bas Jan Ader, Halina Kliem, Jennifer Tee
Curated by Noa Giniger
puntWG, Amsterdam, NL
2014

The word ‘status’, by definition, refers to a given now which does not necessarily guarantee its relevance for the moments to follow. Therefore, it expresses a position that is subject to constant examination and change. Social media has appropriated the word status and incorporated it into today’s jargon as a space for sharing one’s feelings, thoughts and actions with friends and followers — ‘What is on your mind?’. This endless verbose time-line is an attempt to not let any moment be forgotten or left behind.Status brings together works by three artists in which text – the written word – performs as solid matter and confronts its own unstable and fragile content. Words are presented in different techniques: installation, video and sculpture, thus offering different encounters with text; hand-written, typed, and engraved. The pieces shift between temporary and permanent, laconic and wordy, restless and stillness, awareness and oblivion, spirit and matte. Thoughts Unsaid, Then Forgotten (1973) by Bas Jan Ader is a wall-text installation, illuminated by a lamp and paired with flowers in a vase. This reconstruction of the piece is following drafted instructions; the sentence is traced, based on the original handwriting. The decaying flowers and the text about forgetting, emphasize Ader’s attraction to the inescapability of loss in fleeting moments. Thoughts will be forgotten, whether unsaid or spoken aloud, and Ader’s laconic phrase does not guarantee otherwise.The two videos from the series Real World (2007-2008) by Halina Kliem are fast and intensive. The restless typing creates a rhythm that is occasionally disrupted by re-writing and correcting. Each video lasts a few minutes before repeating itself. Here, the linear time-line is replaced by an eternal loop. Expressed as an inner monologue, Real World explores the boundaries between art and life, fiction and truth, and as the videos are simultaneously watched and read, the text turns into a form of poetry.As if observing from the mezzanine, a collection of works by Jennifer Tee is displayed; nine pairs of ceramic urns, colorful in a spectrum of glazed soft pastels. The sculptures, among which are Thought~Forms, Wild~Patience, and Occult~Geometry (all 2014), are arranged on a long table. They are a hybrid of a tomb and a totem, striving for eternal duration beyond decay. One word is stamped on each of them. Isolated but paired, the urns do not tell a narrative but a riddle. Hence, by placing them outside of their regular context, the words resonate different vibrations that transcend their common use.

Status was made possible with the support of Amsterdams Fonds voor de Kunt (AFK).

#exhibition #installation #sitespecific #video #sculpture #object #durationalobject #analogue #title #text #handwrite #ephemeral #forever #emotionalstate #riddle #poetry #HalinaKliem #JenniferTee #BasJanAder

Spells,

Zimmer for FAB,

Recalculating Route,

Still Fata Morgana,

EDUCATION

SOLO AND TWO-PERSON EXHIBITIONS

GROUP EXHIBITIONS

CURATORIAL projects

RESIDENCIES and PROGRAMS

AWARDS and GRANTS

OTHER

EDUCATIONAL and ORGANIZATIONAL

TALKS

PUBLICATIONS and CATALOGUES

Compass Four engraved metal plaques, chairs 1.8 x 9 cm each plaque, 85 x 45 x 45 cm each chair 2018

Compass Four engraved metal plaques, chairs 1.8 x 9 cm each plaque, 85 x 45 x 45 cm each chair 2018

Vertical Element (On-land) Archival pigment print 34 x 25 cm (framed 41 x 32 cm) 2017

Vertical Element (On-land) Archival pigment print 34 x 25 cm (framed 41 x 32 cm) 2017

Everything Near Becomes Distant Dictionaries, metal bookends, wood shelf Variable dimensions [here sequence #2: 24 x 85 x 22 cm] Ongoing (Since 2004)

Everything Near Becomes Distant Dictionaries, metal bookends, wood shelf Variable dimensions [here sequence #2: 24 x 85 x 22 cm] Ongoing (Since 2004)

Someday He’ll Come Along White horse figurines, statues, toys and steel pedestal with wood top 100 x 1800 x 40 cm 2011

Someday He’ll Come Along White horse figurines, statues, toys and steel pedestal with wood top 100 x 1800 x 40 cm 2011

Too Much, Too Little, Too Late Three paper stacks, offset print on paper Installation dimensions variable (Stacks here 24 x 70 x 50 cm) 2009

Too Much, Too Little, Too Late Three paper stacks, offset print on paper Installation dimensions variable (Stacks here 24 x 70 x 50 cm) 2009

Status Exhibition with Bas Jan Ader, Halina Kliem, Jennifer Tee Curated by Noa Giniger puntWG, Amsterdam, NL 2014

Status Exhibition with Bas Jan Ader, Halina Kliem, Jennifer Tee Curated by Noa Giniger puntWG, Amsterdam, NL 2014

Compass
Four engraved metal plaques, chairs
1.8 x 9 cm each plaque, 85 x 45 x 45 cm each chair
2018

Compass
Four engraved metal plaques, chairs
1.8 x 9 cm each plaque, 85 x 45 x 45 cm each chair
2018

Vertical Element (On-land)
Archival pigment print
34 x 25 cm (framed 41 x 32 cm)
2017

Vertical Element (On-land)
Archival pigment print
34 x 25 cm (framed 41 x 32 cm)
2017

Everything Near Becomes Distant
Dictionaries, metal bookends, wood shelf
Variable dimensions [here sequence #2: 24 x 85 x 22 cm]
Ongoing (Since 2004)

Everything Near Becomes Distant
Dictionaries, metal bookends, wood shelf
Variable dimensions [here sequence #2: 24 x 85 x 22 cm]
Ongoing (Since 2004)

Someday He’ll Come Along
White horse figurines, statues, toys and steel pedestal with wood top
100 x 1800 x 40 cm
2011

Someday He’ll Come Along
White horse figurines, statues, toys and steel pedestal with wood top
100 x 1800 x 40 cm
2011

Too Much, Too Little, Too Late
Three paper stacks, offset print on paper
Installation dimensions variable (Stacks here 24 x 70 x 50 cm)
2009

Too Much, Too Little, Too Late
Three paper stacks, offset print on paper
Installation dimensions variable (Stacks here 24 x 70 x 50 cm)
2009

Status
Exhibition with Bas Jan Ader, Halina Kliem, Jennifer Tee
Curated by Noa Giniger
puntWG, Amsterdam, NL
2014

Status
Exhibition with Bas Jan Ader, Halina Kliem, Jennifer Tee
Curated by Noa Giniger
puntWG, Amsterdam, NL
2014