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Spacequake Artist E-terviews (EN) |
 2010
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Associated projects: Spacequake
E-interviews - Artists - Spacequake Adriaan van der Ploeg (Academy of Arts, St. Joost, Breda) 1. Tell us about your latest ‘discovery journey’.
Every time when I worked as a night watchman I experienced a journey of discovery. From 19.00 till 7.00 I only watched films. All these stories take me from a Roman gladiator arena via Rwanda in 1994, to 1985 where Marty and Doc step into their Delorean and depart to 1955. Films are almost a kind of drug. For a period of two hours you forget your own life and problems and you are taken along on an adventure. 2. How did you experience the academy? Like a Harry Potter book. 3. How do you relate your work to the exhibition theme; exploring space? The two photographs that are shown in the exhibition both bring forward another aspect of exploring space. The motorcyclist is an entirely black studio photograph that just shows the highlights. It is a type of space-cowboy-robocop character, very futuristic. He literally explores space. The photograph of the moslima ( muslim woman) in the Mercedes could be interpreted in the same way; she is an explorer of space and the future. Besides that, I’ve tried to explore and shift the stigma or stereotype of muslim women (think: older woman with head scarf carrying 6 plastic bags on her back). However, this muslim woman just sits her ass down in that SLK, sometimes she almost seems like royalty. 4. How do you see your future as an artist? In which direction do you want to develop? In the direction of a good photographer who can earn his money with something like advertising and at the same time realize his own ideas and concepts. 5. How do you think to survive as an independent artist? What is your plan? Making a lot of work and showing it around to a broad public. Gwen van Zaane (BLISS) (Willem de Kooning Academy, Rotterdam) 1. Tell us about your latest ‘discovery journey’. We like to see BLISS as a present. Wrapped beautifully, exciting to open and than enjoying the gift. 2. How did you experience the academy? We experienced the academy period as, let’s say, a 4-course dinner. Halfway through you are already satisfied, so after that you’re just feeling sick because you’ve eaten too much. 3. How do you relate your work to the exhibition theme; exploring space? ‘And the Blissalicious’ is a band formed for this exhibition that will perform during the opening. We, Bliss, offer ourselves as backing singers for new hopeful, future talent. Who oh who will become the superstar that brings ‘And the Blissalicious’ to greater heights? 4. How do you see your future as an artist? In which direction do you want to develop yourself? Monday 08.00 alarm goes off Coffee is ready Bath is filled Costume on Car is ready 9:15 On the way to the Airport Conference Call Charlie 16:30 Tokyo, Karaoke Bar Lauren 11:30 Moscow, Lecture Gwen 9:30 Schiermonnikoog, in the car Deal is done! Good way to start the day. Tuesday 10.00 meeting Waldorf Astoria, New York City Champagne to celebrate the launch of Bliss Fris (soda) Next day: Guggenheim NYC in relation to the solo exhibition BLISS Monday 8.00 alarm goes off Wake up Make coffee Take out the trash Cycle to the studio to pick up where we left off. The sky is the limit baby. Let’s get higher yeah. 5. How do you think to survive as an independent artist? What is your plan? With a job in a restaurant for the time being. Golie Talaie (Utrecht School of Arts) 1. Tell us about your latest ‘discovery journey’. The last discovery during my research process concerned the possibility of sound and the role of sound in the definition of spaces. The first three years of the art academy I was just focussed on the combination and the cohesion of video and space that sound almost had an secondary role. After the ‘discovery’ of sound I feel I found the essence. 2. How did you experience the academy? The time at the academy mostly resulted in searching and finding the best medium with which to express myself. It was, in a way, a introduction of new media and letting go or adjusting old methods and ways of thinking and producing. 3. How do you relate your work to the exhibition theme; exploring space? In my work the notion, understanding and experience of space takes the leading role. Through audiovisual media I try to induce an experience of space. A space arises by giving it a more specific definition. 4. How do you see your future as an artist? In which direction do you want to develop? As an artist at the beginning of my career my research is mainly in the area of the audiovisual combined with space. I’ve got the feeling that I need to obtain the certain knowledge and discover the infinite possibilities of this field. 5. How do you think to survive as an independent artist? What is your plan? I hope, as an independent artist, I don’t have to rely on being support by institutions too much (though they, at the same time, make it possible to realize projects). Besides that, I try to present my work through using my networks, the networks in which I find myself through different experiences and contacts at the academy. Presenting my work to a growing public, which makes it possible to enjoy a (qualitative) growth. Joep Overtoom (Royal Academy of Art, The Hague) 1. Tell us about your latest ‘discovery journey’. I live in Rotterdam because I love big cities. Your body has another relation to its surroundings. The buildings are monumental, forceful and really determine the identity of such a city. Such a colossal thing won’t move just for you. I discovered that , as an artist, I have the freedom to stare at these sort of things when I find it necessary. Recently I had an urge to go away for a while, to see something different. It was a fantastic feeling, when you decide it’s needed, you have the freedom to cycle through Berlin on the same day. Meanwhile you keep busy, all these images will find their way to the studio.
2. How did you experience the academy? I thought the academy period was a short one, after these four years I finally had the feeling something was growing, I was starting to see something. I really enjoyed the environment filled with young ambitious people who feel the need to do something they think is important. I see it as a privilege; the fact I was given a chance to occupy myself with the things that fascinated me. I had no employer and no routine, I just tried to explore the boundaries in my work. 3. How do you relate your work to the exhibition theme; exploring space? The paintings exist out of different elements of photographs. I build a painting through layers. By making images this way I create a personal view of surroundings. I make a world that is built with elements I find attractive and I try to make the elements of the fore and background play with each-other. During the painting I try to anticipate a newly created situation. This way I can define the created space over and over again. 4. How do you see your future as an artist? In which direction do you want to develop ? In the future, I would like to research the contemporary art of painting and the way in which my work can have a contribution. Sometimes there is a lot of balance in a work, everything comes together. I would like to become more conscious of the way this works. When you become more conscious of the qualities in your work, you can play better with them. I also want to keep looking forward with my work. When I’m looking at art I’m always looking for something new. I’m always looking for ways to surprise myself. I want to develop my personal style and search the meaning of the roles of that style in my work. 5. How do you think to survive as an independent artist? What is your plan? By working hard and always making sure my work is as good as it could be made at that particular moment. I want to be realize my ambition and follow my dreams. Besides that, there is an certain amount of luck needed, the luck that offers you the chance to make life as you want it to be. Jonmar van Vlijmen (Academy for Arts and Design, Arnhem) 1. Tell us about your latest ‘discovery journey’. ‘Imagination of my clearance’ was a research on my personal design methodology. What are my notions and how do I see my work in relation to the profession? With my work I try to create a world that is ideal to me, my clearance, or autonomous zone. By taking an enormous collection of personal relics of an idolized reality I started to make my own ideal space. The situationists inspired me with their dérive (meaning: wander through a city without any plans or goals and sail on the environment of the city) to gather my collection. The elements that inspired me became a new collection. For instance in my collection there are a lot of flags, they together formed the flag of my personal space. A collage of sugar-bags, especially from restaurants, monuments and other architecture, show a proposal of how my space could appear. This new collection is the visualized form of my thinking. It shows my notion. Working on assignments as a graphic designer I try to create a new space for every task. This way I can arrange this space as ideally as possible and integrate my own identity. 2. How did you experience the academy? Answering the question how I experienced the academy, I must say it was a real search for me, where I aimed to enlarge my personal borders. The academy certainly provided a safe environment, a place where there could be experiment. I made full use of this, with falling and getting up. I experienced that you can want everything and that it’s possible in principle, as long you have a good argument to support your ideas. 3. How do you relate your work to the exhibition theme; exploring space? The preliminary investigation of my work has lead me through different theories and serious proposals of designers, artists and architects whom go elaborate the notion of ideal space; Utopia. An example of a proposal of Utopia is ‘New Babylon’. New Babylon is a large-scale and promising proposal by Constant Nieuwenhuys for a new social model without hunger, exploitation and labour ( a society where every human being, through his creativity, could develop himself to the fullest), takes a central position. This model forms a source of inspiration when I think of freedom. I believe that you can achieve maximal freedom by minimizing restrictions. In his model, Constant, showed this by, for instance, automatizing all labour. My research also brought me to the book of Hakim Bey ‘Temporary Autonomous Zone’ (TAZ), published in 1991. The TAZ has various shapes and is a revolution that frees and occupies areas (geographical, in time or state of mind). It’s an answer to the fine arts questioning the expropriation of the personal identity. I can relate to that, I see TAZ as a psychic nomadism, an associative world you occupy in your mind. I’m creating a space where I can associate freely, where I can make connections between everything I want to see as a related. In my space everything is possible, as long as my creativity and identity comes first. 4. How do you see your future as an artist? In which direction do you want to develop yourself? Now I’ve graduated I ‘ll build my space further, a place where I can totally be myself, where my identity takes a central point. My future as an artist will be a struggle for freedom. I want to represent my free space and discoveries. I document my development as an artist, so nothing gets lost. Where my search is heading is still unclear. Once someone told Luc Deleu that something lasting will be accomplished through lasting labour and precise thinking. I believe this counts for me as well. 5. How do you think to survive as an independent artist? What is your plan? I see myself as a graphic designer and an artist. I combine assignments, initiated tasks and free work. In my work I spend a lot of time on the concept. A conceptual way of working is ideal to me, because the concept for me means creating an ideal space. To answer the question how I want to survive as a designer and an artist I can say I’m starting an autonome concern. At this moment I’m working on several assignments and will be working with Anke Broeren from February 2006. Next to that I’ll go on with my work as an artist. A part of the first phase is shown at Showroom MAMA. Judith Hofland (Utrecht School of Arts) 1. Tell us about your latest ‘discovery journey’. I’m going to India. When you go on a journey you are a stranger and you can act like it. I love the anonymity where you can look at the world in a different way and realize people look at you in ways you’re not used to. You can discover another part of yourself. In my latest projects I especially focussed on the voyeuristic side of people. When you live in a city and look out the window there a lot of things happening that you can translate in your own way. 2. How did you experience the academy? For me it’s a freedom to have graduated. As if I can put all my energy in concepts without wondering what the mentors will think off it. 3. How do you relate your work to the exhibition theme; exploring space? I’m especially focussed on film and projection in relation to spaces, so there will be an interaction by seeing a film. The projection becomes an object in space where you, as a witness, need to relate to it. 4. How do you see your future as an artist? In which direction do you want to develop? Besides being a theatre designer I want to develop within the autonomous fields of fine arts, theatre and film. I will work on the border between those disciplines. All disciplines are interesting to me. 5. How do you think to survive as an independent artist? What is your plan? There is a long road ahead. I like to initiate projects and find the right people I ‘d like to work with. I want to learn how to write subsidy plans to create more time for myself to experiment. The combination of personal projects and working on projects initiated by others seems ideal to me. Ola Vasiljeva (Utrecht School of Arts) 1. Tell us about your latest ‘discovery journey’. I imagine my work as a filter that proceeds the images into my own idiom. I have noticed, that I am still very much into abusing famous and comfortable images and questioning the truth of popular myths. 2. How did you experience the academy? Weird. 3. How do you relate your work to the exhibition theme; exploring space? The project I am showing in MAMA deals with the territory of one’s mind. 4. How do you see your future as an artist? In which direction do you want to develop yourself? I will continue doing stuff that I love most 5. How do you think to survive as an independent artist? What is your plan? I work as a cleaner 15 hours a week all the other hours are devoted to my development. Rob Donkers (Willem de Kooning Academy, Rotterdam) 1. Tell us about your latest ‘discovery journey’ My latest discovery journey was when I traveled to the Friesian town Beetstwerzwaag where I overstepped the borders of the cuckoo-clock. 2. How did you experience the academy? For me the academy was a kind of playground. 3. How do you relate your work to the exhibition theme; exploring space? -
4. How do you see your future as an artist? In which direction do you want to develop? I want to develop myself in all directions. As broad as possible. 5. How do you think to survive as an independent artist? What is your plan? To concentrate on what is important. Roel Klungel (Willem de Kooning Academy, Rotterdam) 1. Tell us about your latest ‘discovery journey’. For me a discovery journey is especially the amazement at new things. My last discovery journey was the experience that, during my training for the Winter Triathlon, I noticed my body couldn’t do want I would want it to do. My body doesn’t work the same way I was used to, my heartbeat doesn’t rise that easily any more. For almost two years I didn’t train and I noticed I’m getting older. As a parent of a two-year old son my discovery journey takes place through him as well. It’s amazing hearing him repeating a new word. He speaks new words continually. From his Spanish friend he picks up Spanish words as well. By hearing a word repeatedly he can do it himself, learning through imitating. How does it work?! 2. How did you experience the academy? The first two years at the academy I experienced as an kindergarten for grown- ups. I loved it, just drawing and fumbling. I did the things I could do well. After that it became harder, I had to learn to approach things differently to how I was used to. Then I I had to stay close to myself again. This took a lot of energy and frustration. Finally I surprised myself with something I never expected to be able to make. Art history and philosophy are subjects I apparently really missed before the academy; It felt like home.
3. How do you relate your work to the exhibition theme; exploring space? My exhibited work is a life-size tractor made of cardboard. The work is about processing soil. People don’t really realize that in providing our food, we are dependent of the growth of the soil. In our time and culture the tractor is a primitive force, the base, to work the soil. My work is about the differences of the city and the countryside and the trash-culture of our society. My work is also about the personal space I occupy. After examining myself I must confess I have a fascination for tractors. Not by putting it away, but seeing it through a magnifying glass, I make something that is personal and honest for myself. But it has to be accessible for more people, I’m dared to share. My tractor seems massive, forceful and closed. Despite that you can look through it, through the folds of the cardboard and the wheels feel soft. The tractor is powerful, but yet again, transparent and soft. Like a human who makes the effort to allow others into his own way of thinking and into the personal imagination in the form of my made art. I dare to show my vulnerability through my personal style. 4. How do you see your future as an artist? In which direction do you want to develop yourself? Taking myself seriously as an artist is still something I find hard. Is it just fun to make something, or do I want to tell something? Do I think people should know this? Do other people want to hear this? My future as an artist is still very diffused, as is its direction. I see myself making drawings, paintings, objects and mechanical installations. As long as it doesn’t include electronica. Beauty arises through simplicity. 5. How do you think to survive as an independent artist? What is your plan? To survive as an artist I think it’s possible to diversify in two directions, in a creative and a financial direction. On the one side there is the quality of the work. Your work has to jump out and be noticeable so it gets attention. I think I’m doing this by using unusual materials and methods. Besides that, it’s important to me that a work offers different layers. On the other hand there is earning money with your work. Finances are generated through applying for subsidies, competitions, assignments and selling work by showing it. It’s important to show your work and to generate a reputation. You have to take the initiative and approach people yourself. That is why I’m working on a website and a portfolio now. Steven A. Leijen (Academy of Arts, St. Joost, Den Bosch) 1. Tell us about your latest ‘discovery journey’. Graduating and stepping into the big savage world. That was a sour lesson of harsh reality. Brrrrr,... Everything around you disappears for a moment. “What should I do?”. In a way this is fine. An important question anyway. In response to the question, there isn’t a lot of sense I can make of that yet because I’m still at the beginning. Ask me again later...
2. How did you experience the academy? Heavy, but worth it. I didn’t make it easy on myself. And what shows? Finally all the solutions are right in front of you. This gives a fresh view of yourself and your work. I’m not really doing something different from what I did before the academy, but I’m doing it a lot better and with more self awareness. 3. How do you relate your work to the exhibition theme; exploring space? I cherish my boyish dreams like no other. I race after them, and must and shall realize them. Unfortunately the reality is a big anticlimax. These elements come back in my work. The dreams, but yet again the disappointments and the powerlessness. Though I don’t want to be to negative about it. I try to make my drawings in the most spontaneous way as possible. I don’t make sketches and just let it come out the way it does. In that sense I explore the space (not the emptiness) in my head. This can deliver some big surprises for me too. Then again, there are moments where I distance myself from the image I’m working on so I can become conscious of what I’m doing. It has to be fun for someone else too, doesn’t it? Symbolism is fine, as long as it stays accessible. 4. How do you see your future as an artist? In which direction do you want to develop? I’m pretty much “all round”, an omnivore. As long as I’m creative, I’m enjoying myself. If it’s about music, drawing, performing arts, advertisements or film. That is where I’m keeping my gaze; all of that. I cautiously started writing my second film. I’ve got a lot to learn in this field, but I think it’s a kick ass way of telling stories. This is where I hope to develop more. Besides that I’m looking forward to starting a new comic and the rest of my free time goes to my bands and drumming. I expect to make a lot of nice things and to really enjoy myself while doing it. And a little success is welcome as well... 5. How do you think to survive as an independent artist? What is your plan? Like I said: I do everything, commercial, assignments and applied, those are not dirty words to me. I’m really busy looking for work in advertising and design. My background comes in useful here. This way I hope to create a stable base so I can focus on my ‘own’ work. When this is all going well I’ll take another look. I’ve always said I want to earn money doing the things I like, this is my boys’ dream. This still is the set-up phase, and despite some misfortune, I’m keeping the faith that everything will be alright. Véronique Driedonks (Academy for Arts and Design, Arnhem) 1. Tell us about your latest ‘discovery journey’. When I feel the need to find new impulses for my work I start to make photographs. I wander through the city, nature or through an industrial area. Such a landscape is a setting of lines, shapes and constructions that I can translate into my own likeness. At the same time I experience the environments of the places I visit. A lively city can be as disconsoling as an industrial area, a forest paradise also ominous. I’m wondering what it is that I see and experience, if the world we live in still relates to our basic needs.
2. How did you experience the academy? As a search for form and content it suited me. I had all the freedom to experiment and stimulate and inspire others and myself. 3. How do you relate your work to the exhibition theme; exploring space? My spatial works keep on growing bigger. The size relates to the experience of it. ‘Laws, the Forest’, shown in Spacequake, is an environment of handmade felt. In this recent work I carried out the definition of space to the max. It has become a space in itself, which you can walk through. . It’s about the experience. Red metal pipes are hovering high above you head, as if a higher power has control. Lianas with big leaves are growing out of the pipes and try to find their own way and escape the rigid look of the metal. You can smell the scent of sheep wool.
4. How do you see your future as an artist? In which direction do you want to develop yourself? I’d like to research the aspect of being absorbed by an art work, like filling a space. Felt, the material I experimented with for a year, as a material is a source for new ideas. But I also work with other materials. I’d like to further focus my research on the “essential meaning of existence”, on all that’s substantial and original. 5. How do you think to survive as an independent artist? What is your plan? That is pretty complicated, I think. Besides being an artist I have another job 20 hours a week. The advantage is you have a grip on society and a good working vibe. But being an artist you can develop yourself faster if you have the time for it. Until now I’ve been occupied with exhibitions that came forth out of the graduation show and practicalities that need to be arranged. I want to make work quickly. My spatial installations are big and I work on them for a longer period of time. They are less salable than my graphics. I will have to try to arrange project subsidies or commissions to be sure that I can afford the materials or exhibit the work. Besides that I keep in contact with other artists starting out, so we can stimulate each other to keep on working and to develop initiatives. |
