Eric Bell and Kristoffer Frick
Booth Light Brown N˚9 / Lime Green N˚10
Shared with Galerie Reinhard Hauff
EDB PROJECTS contact during Artissima: +31 (0)6 49485207
Ellen de Bruijne Projects presents work by Dora García, Falke Pisano, Klaas Kloosterboer and Lara Almarcegui, as well as Eric Bell and Kristoffer Frick, who will also be present.
Eric Bell and Kristoffer Frick
Eric Bell and Kristoffer Frick explore the aesthetic readability of modern representation systems in design, architecture, fashion and art. Their interest focuses on the surplus ideological value retained by individual graphic symbols that have been isolated from their larger context. The two artists create precisely arranged displays in their installations in which complex associations and layers of meaning arise from targeted re-contextualizations of annexed visual elements.
At Artissima 2011, Ellen de Bruijne Projects will present four photographs from their ongoingseries, Hybrids, as well as a new sculpture. This sculpture is a continuum of the exhibition Honeysuckled that was presented in Dolores, the artist-curated space at Ellen de Bruijne Projects in Amsterdam. It is a work about consensus, taste and conformity, and décor. Hybrids, a series of photos of hybrid engines, researches the multiple, conflicting desires that these images represent.
The question of how material and formal characteristics have an effect on the content of a work, and how they influence the connotative meaning of a work, as well as its frame of interpretation, is fundamental Frick and Bell. With slide projections, photographs and sculptural elements, they play with formal modes of presentation and the symbolic charging of images and objects. The artists foreground the experiential as well as the intellectual perception of their work.
Eric Bell (CA, 1985) and Kristoffer Frick (DE, 1985) have recently completed their studies at the HfbK Städelschule in Frankfurt am Main and are currently residents at De Ateliers in Amsterdam. Their exhibitions include: Between the Silhouette and the Background, Unosunove, Rome (2010); Geschmacksverstärker, Zollamt, MMK, Frankfurt am Main (2010); Office, Croy Nielsen, Berlin (2009); Fields Seen Apart, Hermes und der Pfau, Stuttgart (2008); and No Soldiers in the Scenery, Schaufenster, Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2008).
In 2012 they will be finishing their residency at De Ateliers in Amsterdam and will be participating in the thereby organized exhibition.
For the Spanish Pavilion in the Venice Biennial 2011, Dora García created an “extended performance” project with the title “L’inadeguado, Lo inadecuado, The inadequate”. This performance consists of objects, conversations, monologues, theatre, silences and debate. The protagonists are experts in the notion of ‘inadequacy”, they represent independent, underground, dissident, unofficial, marginal and exiled positions. The performances have been extending throughout the duration of the Biennale, starting on the 1st June and will continue until the end of November.
At Artissima 2011 Ellen de Bruijne Projects will be showing the video “The Inadequate”, one of two videos which form part of the extended performance. What does ‘inadequate’ mean? In this respect, we refer to the following quote by Erving Goffman in Encounters (1961): ‘To be awkward or unkempt, to talk or move wrongly, is to be a dangerous giant, a destroyer of worlds. As every psychotic and comic ought to know, any accurately improper move can poke through the thin sleeve of immediate reality.’
Max Andrews, co-director of the curatorial office Latitudes in Barcelona, Spain, writes in Frieze: “The two documentary films that are casually presented on monitors in the corner rooms of the Pavilion crystallize many strand of García’s research through talking-head interviews, voice-over commentaries and films of workshops in psychiatric hospitals. […] García’s formidable radicalism-jamboree […] provides a timely context for considering the normalization of outrageousness, of genius, madness and the mirage of authentic art.”
Dora García (ES, 1965) lives and works in Brussels, Belgium. Solo exhibitions include ARCO, Madrid (2000), MACBA, Barcelona (2003), MUSAC, Léon (2005), SMAK, Gent (2006), Wilkinson Gallery, London (2008), CGAC, Santiago de Compostela (2009) and Kunsthalle, Bern (2010). She was represented in the Istanbul Biennial, Turkey (2003), Rotterdam Film Festival, The Netherlands (2004), Posthumous Choreographies at White Box Gallery, New York (2005), H Box at Centre Pompidou, Paris (2007), Art Basel Miami Beach and Frieze Art Fair (2008), Sao Paolo Biennial, Brazil (2010) and currently her work can be seen in the Spanish pavilion at the Venice Biennial 2011.
Falke Pisano has spent the past five years working on her cycle of works, ‘Figures of Speech’. Now she is introducing a new series of propositions and inquiries that deal with “the Body in Crisis”. It is her intention to articulate the body in a state of crisis as an on-going event and to question the role that representation can play in this attempt that takes place in both the context and the representational space of contemporary visual arts.
At Artissima 2011, Falke Pisano shows the latest stage of this ongoing event (parallel to the exhibition in the gallery at Ellen de Bruijne Projects Amsterdam). With the basic and all over connecting video as springboard to a new paper(board) sculpture and the three new delicate didactical prints, it gives a balanced inside view on her way of (re)presentation.
This second body of investigations is welcomed positively by Stefaan Vervoort in his latest Art-Agenda article: “(…), it seems to me that the bodily focus opens up her practice to more nuanced interpretations. She seems to have largely avoided the theoretical impasse in which the work devours itself and its reception on the whole. The question is no longer if abstraction can become fully concrete or the other way around, but how the acknowledgement that it cannot can be made productive, and how this all rhymes with art’s critical faculty in general. Less indebted to the airtight methods of Joseph Kosuth than to the investigatory schemata of Daniel Buren, now seems the time for Pisano to disperse the aesthetic formula onto various themes and sites, and see what it discloses” Sept 27, 2011
Falke Pisano (NL, 1978) lives and works in Berlin. Solo exhibitions include Extra City, Antwerp, Transmission Gallery, Glasgow; Hollybush Gardens, London; Balice Hertling, Paris and Grazer Kunstverein (with Benoit Maire), Graz. She was represented in Making Worlds, 53rd Venice Biennale (2009), Modernologies, Macba, Barcelona (2009), Yokohama Triennale, Japan (2008), Word Event, Kunsthalle Basel, Switzerland (2008) and Manifesta 7, Trentino (2008). Pisano produced the publication ‘’Figures of Speech’’ (designed and co-edited by Will Holder, published by
JRP-Ringier, Christoph Keller Editions, 2010).
Upcoming: In 2012, Falke Pisano is invited for the group show “Abstract Possible” curated by Maria Lind at Tensta Konsthall, and a solo show by Lorenzo Benedetti at de Vleeshal, Middelburg. For 2013, Pisano is invited by the new director Søren Grammel to create a solo in the Kölnischer Kunstverein.
Either painting, video or sculpture, Kloosterboer’s work all emerges from a world of ideas, in which ‘acted action’ and ‘drama’ are central points of departure. With this more theatrical way of thinking, Kloosterboer expresses his opinion that for him making art is an act of making an action, resulting in an art piece, id est an acted art piece.
At Artissima 2011, Ellen de Bruijne Projects will be presenting two works from the very extensive oeuvre of Kloosterboer, one an older sculptural piece from 2006 and the other a new painted surface cut into shapes, made in 2011. These works build on earlier pieces that, next to painting, incorporate the theatrical, the three dimensional and the scenario. The key concepts are visual constructions and a material concreteness as a form of abstraction.
In each work the act of painting is a “ritual of occupation”. ‘One thing takes place so that another can not.’ The process of deciding to make a work is a dramatic moment for Kloosterboer, since after the creative act other possibilities are excluded. His conscience then plays tricks on him and this is particularly expressed – in his view – in the large sizes of his canvasses and objects.
Klaas Kloosterboer (NL, 1959) lives and works in Amsterdam after attending the Rijksakademie there. He had solo exhibitions at Badischer Kunstverein, Karlruhe (2003), and at Villa Roma, Florence (2010). As part of the Reykjavik Arts Festival (2009), he had a solo exhibition in Sudsvestur. He participated in ‘Dumb painting’ at Centraal Museum, Utrecht (1992); ‘Bildraum Erweitert’ at Museum Dhondt-Dhaenens, Deurle (1997) and The ‘Projection Project, Budapest episode’ at Kunsthalle, Budapest (2007). His work can be found in private collections in Norway, Iceland, The Netherlands, Germany and Belgium. Public collections like the Schunck Museum, Heerlen; Museum Boijmans van Beuningen, Rotterdam; Centraal Museum, Utrecht and Stedelijk
Museum, Amsterdam own his work. In 2009 Museum Boijmans van Beuningen presented work by Kloosterboer in two rooms during a group show with overview of part of their collection.
Lara Almarcegui renders visible what we otherwise fail to regard, see, or notice. She deconstructs in order to uncover — including a view of the utopia of the future. Her projects and interventions question the present state of the world of development and construction, and are designed to instigate a dialogue on the different elements that make up the ever- changing physical form of our urban landscapes. The Project shown at Artissima 2011 is one she made at Secession in Vienna: Removal of the Wooden Floor.
This work uncovers a quiet process that is concealed from the public; Almarcegui instructs the ‘removal and reconstruction of the wooden floor’. “The question was not so much: what can I do to improve a certain place?, but rather: what can I learn from this place?”, says the artist. What occurs is the documentation of a process with an almost invisible outcome. Although it has already come to a conclusion and is no longer accessible, nonetheless it remains present.
In a total of exactly fifty images, she takes us through the entire process of taking the wooden pieces apart and relaying them, resulting in an almost identical floor. A slide projection on the wall simply shows two men at work, doing what to them is nothing but a daily task. However, the assignment by the artist for them to do this task raises questions on the modern approach of progression, the environmental consequences of economical growth and the elapse from time to space.
Lara Almarcegui is born in Zaragoza, Spain in 1972 and now lives and works in Rotterdam. She had solo exhibitions at INDEX, Stockholm (2004), FRAC Bourgogne, Dijon (2004), Centro Arte
Contemporáneo, Malaga (2007), La Box, Bourges (2008), Sala Rekalde, Bilboa (2008), Ludlow 38, New York (2010) and Secession, Vienna (2010). She presented projects at the Liverpool Biennial (2004), at the Frieze Art Fair Special Projects (2006), at the São Paulo Biennial (2006), and the Sharjah Biennial 8, Arabic Emirates (2007), the 7th Gwangju Biennial, at La Galerie, Noissy-le-Sec (2007), and the Taipei Art Biennial (2008). Her work featured in the Barbican show on “architecture for a changing planet”, London, the 2nd Athens Biennial (2009), the Westfälischer Kunstverein, Münster, the 10th Biennale de Lyon (2009), Portscapes at Boijmans van Beuningen, Rotterdam (2010). She just finished her solo at TENT, Rotterdam, and participated in the group show on contemporary Spanish photography at the Instituto Cervantes in Rio de Janeiro.
Upcoming solo shows: CAAC, Sevilla (2011), Stedelijk Museum, Den Bosch (2011), Fondazione Pastifizio Cerere, Rome (2011), Kunstlerhaus, Bremen (2011) MUSAC, Léon (2012), CA2M, Madrid
(2012), CREDAC, Ivry-dur-Seine (2012)
Ellen de Bruijne Projects, Rozengracht 207 A, 1016 LZ Amsterdam, The Netherlands
+31 (0)20 5304994 +31 (0)20 5304990 firstname.lastname@example.org www.edbprojects.nl