Twice a year, the resident artists at the Rijksakademie open up their studios for each other, advisors and employees during the internal open studios. Ideas for projects are being tested and work is discussed with fellow residents and advisors. The artists will present the outcome to the public during RijksakademieOPEN, December 1 and 2.
Korean resident Min Oh showed a minimalistic, well thought-out performance called The Suite while an alternative version of the same performance was projected on the wall.
Min Oh, The Suite, 2012 Video and object-installation: Min Oh. Performance: Lisa Vereertbrugghen (alternate version for the Rijksakademie internal open studios)
What made the performance alienating was the contrast between the digital projection on the screen and the analogue, physical happening on stage. A female model was struggling through various wooden sculptures in absence of a soundtrack, while the sound from the clicking of high heels from the projection interfered with the actual sound from the live performance. Oh started the internal open studios leaving the spectators warm and fuzzy, but at the same time cold and estranged to begin a day of new impressions and experiences.
Min Oh, The Suite, 2012. Video and object-installation: Min Oh. Performance: Lisa Vereertbrugghen
After the performance, it was hard not to be attracted by the weird soundscapes coming from a hidden atelier in a basement-esque setting. The recording of an analogue synthesizer jam session from Lev Kavachenko was penetrating the eardrums of everyone in the vicinity. In his studio Kazachenko’s progression from the tangible to the audible art was clearly visible. In co-operation with Kees Reedijk, technical advisor of the electronics department, he modified a synthesizer to change the original sound into one more suitable for Kazachenko’s sound experiments.
Lev Kazachenko’s studio.
On the other side of the premises of the former Kavallerie-Kazerne (Cavalry Barracks) it became obvious Bert Jacobs has been experimenting when looking at his old and new work. The paintings he showed earlier this year were two-dimensional, but his new work is an obvious departure from the classic format. Although his ‘paintings’ still include a canvas and paint, he added a new dimension: depth. Working with paper-mache, plastic and iron to modify his canvasses, he explores different methods to add the extra dimension to his work.
Bert Jacobs, Untitled, 2012. Work still in progress.
Pawel Kruk presented his work as an exhibition titled The Evidence. From the beginning of his residency at the Rijksakademie, Kruk has been renaming, scaling and retouching thousands of photographs from the collection of the Rijksakademie for the online archive. Here Kruk used the enormous archive of the Collections to curate an exhibition of works from the Rijksakademie within the Rijksakademie. The works contained a wide variety of women, portrayed in different styles whose background or mental state was unknown for both Kruk or the spectator. Who knows. They could have been wives, children, mistresses or random strangers of the artist. The video at the exhibition showed a woman sitting in a window and could be seen as complementary to the images, since the content showed as little clues as the images. Watch here a video of the presentation.
Pawel Kruk, ‘The Evidence’ , 2012.
The four works described above are a just small selection of all the works presented. We will keep you posted on about the preperations for the RijksakademieOPEN at the 1th and 2nd of December, when you’ll be able to visit all the presentations yourself.
Text by Mark van Hooijdonk
Photo’s by Sandra Felten and Mark van Hooijdonk. Second photo courtesy of Min Oh.
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