Ellen de Bruijne Projects at FIAC Paris 18 – 21 October 2012

Booth 1.H02

gerlach en koop
Erkka Nissinen
Falke Pisano



gerlach en koop

No two things can be the same

Stacking two rubbish bins does not just make a small pile of rubbish bins.  Something else happens too. One is thrown away in the other. The one on top is discarded. Used up. It creates a difference between them. Even if there is no difference. No two things can be the same [Deux mêmes choses ne peuvent être pareilles] is the title of a sculpture for the public space of the Jardin des Tuileries during the FIAC 2012. One ordinary rubbish bin from the parc is ‘mise au rebut’ in the other. A title card next to it mentions only one bin, identifying the other one as just a base, a plinth to support the first. It means that one is art, while the other is still part of the city’s public furniture, that is to say: part of life.

No two things can be the same is also the title of an office and an industrial version of the
No two things can be the same is also the title of double sided A0 poster, an edition specially
made for the fair.
No two things can be the same is also the title of FAN Nº12 published for the occasion by BAT
editions, with a text by Maaike Lauwaert. This issue in an edition of 100 copies will be available at the booth of Ellen de Bruijne Projects at the FIAC and will be send to a receiver of choice for the price of a stamp.
All from the same gesture that is thus exhausted to the point of.

gerlach en koop is a collective of two artists from the Netherlands who gave up the habit of writing their proper name with a capital letter in order to be able to merge into one collective artist. Their objects and gestures are described as very minimal but elegant, made and performed with a cleverness that is often also blunt, and provided with carefully crafted titles that reveal sometimes too much information, and sometimes just too little. Everything but extraordinary.

gerlach en koop live and work in The Hague and Brussels. Solo exhibitions include Kunstboeken (naast de kunst), the library of the Van Abbemuseum, Eindhoven NL (2004), En gerlach en koop,1646, The Hague NL (2010); Niet niet precies. Not not precise. Pas pas précis. Ellen de Bruijne Projects, Amsterdam
NL (2010) and Others’ Structures, New Existentialism part 6, Gebert Stiftung für Kultur, Altefabrik, Rapperswil-Jona CH (2012). Their work was featured in various group exhibitions, such as ‘Lost Tongues Rediscovered’, Stroom Den Haag (2007), The Hague NL; ‘the place to be’ at Kröller-Müller Museum, Otterlo NL (2008); ‘Radical Autonomy, at Le Grand Café, Saint-Nazaire, FR (2009) and Netwerk, Aalst, BE (2011); ‘Faux Jumeaux’, S.M.A.K., Gent, BE (2009); ‘For the blind man in the dark room looking for the black cat that isn’t there’ at de Appel, Amsterdam NL (2010); ‘Keep floors and passages clear’ at White Columns, New York US (2011); ‘Found in Translation, Chapter L’, at Casino Luxembourg, L (2011) and ‘Autumn of Modernism’, De Vleeshal, Middelburg NL and Temporary Gallery, Cologne, D (2012).



Erkka Nissinen presents three videos offering a take on the complex relationships between human existence, obsession and the absurdity of modern life. With a filming technique which combines crude animation with actual space and constructed set-ups, all inhabited by actors, the videos underline the importance of humour and parody in the construction of reality. Continuously Nissinen gives the absurd and grotesque a pivotal role in his play with reality.

The word “Polis” comes from the Greek language, meaning city or an entity composed of citizens. In the video Polis X (2012) Nissinen constructs a “kaleidoscope of human destinies” that reference the ancient Greek ideal of the city-state. Instead of depicting a perfected state of utopian community, the viewer is confronted by the obscene historical traces of mankind’s inhumanity. It’s in this ridiculous space where eccentric characters face comical circumstances in a visual satire. The cast ranges from a plumber and a bear to porn actors and even politicians. They possess grotesque names like “Stupid Cunt”, “Pig Shit Tit Ass Sailor” and “Boring Fuck”. All inhabitants are in some way confronted with their ethical and moral position in the social construction which makes up the city of Polis. They have to make choices about methods of interaction with other inhabitants, and decide if they want to communicate with them at all. How are groups formed, who will be excluded, and for what reason? Other inhabitants hilosophize about completely different matters, like the connection between platonic solids and human characteristics, living in the now, the question of being, and the paralyzing power of the presence of unlimited possibilities.

In the video Rigid Regime (2011) an armless outside observer in shorts and flip-flops arrives in a helicopter to inspire the local community. In this rather unsettling work the protagonist is played by Nissinen himself and undergoes several extreme and almost unthinkable scenarios. His arms are chopped off, he gets kicked in the crotch, a cart drives over his legs which get partly severed from his body. He continues to drag his legs behind his body for the rest of the narrative and in the end gets buried alive by a man who ‘can run very fast’. He claims to accept the situation, offers a truly unique artist’s perspective on the history of mankind and says with the vocabulary of a toddler farewell to life. High and low-brow are mixed into a video where philosophy, porn and animation are equal and therefore make sense, or nonsense. As is often the case in Nissinens construction of reality.

Vantaa (2007) is an earlier work of Nissinen, in which he stars as a rubber faced dwarf named after the Austrian composer Arnold Schoenberg, who roams through a digital village in search for his stolen yoghurt. In this satirical investigation Nissinen takes a closer look at social behaviour and the transgression of social behaviour, and constructs a structure of absurdity in the spirit of Wittgenstein. Nissinen also implicates composers Schoenberg and Stockhausen in Vantaa, creating a cultural context while drawing inspiration from the radical originality of both figures.

In his videos, Nissinen makes great use of the way the media constructs our reality and uses media language to speak to us. The most extreme and outrageous elements from this language are used to construct a new reality and at the same time stretch the boundaries of media vocabulary. Though absurd to the point of nonsense and often obscene, Nissinens work is far from being meaningless. Rather, it discloses a critical take on the difficulties of current political trends, social interaction and social issues. Changing perspective can sometimes create extraordinary new insights.

The video Polis is also shown in the Cinéphémère in the Tuileries garden on Wednesday 17 October, 6pm, Friday 19 October 3pm and Sunday 21 October, 4pm. Polis is also part of a small selection of videos specially chosen by Jennifer Flay, Director of Fiac, to be screened in Silencio club, a club entirely conceived and designed by David Lynch.

Erkka Nissinen (Finland 1975) studied at the Slade School of Fine Art and earned a master’s degree from the Academy of Fine Arts in Helsinki. In 2007-2008 he was a resident at the Rijksakademie. His works have been exhibited at Ellen de Bruijne Projects and Smart Projects Space (Amsterdam), Helsinki City Art Museum’s Kluuvin Gallery and 1646 in Den Haag. He won the Illy Prize at the 2011 Rotterdam Art Fair. Nissinen is co-director of Handkerchief Production – a Hong Kong-based interdisciplinary creative studio.

Ellen de Bruijne Projects
Rozengracht 207 A
NL – 1016 LZ Amsterdam
contact during Fiac: 0031 (0)649485207

Polis X is shown at the Cinéphémère (in the Tuileries garden) on Wednesday 17 October, 6pm,
Friday 19 October 3pm and Sunday 21 October, 4pm.



Falke Pisano is exhibiting her series of propositions and inquiries dealing with “the Body in Crisis”. With the 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. Pisano focuses on historical representations of the human body in moments of crisis, mainly through collected caricatures, maquettes and graphics.

At Fiac 2012, Falke Pisano shows a maquette Structure 2. Repetition (not Representation), 1974 (#2 of a series of unique sculptures), a video the Body in Crisis (Notes on Distance, Repetition and Representation), and three images Structure 1: Distance (Obstacles), Structure 2: Repetition (not Representation) and Structure 3: Representation (on-going event).

Falke Pisano: “It’s about the definition of the subject, the perception of the body (and the division of the body and mind), the forces that work on the body and what happens when these conditions change. It concerns what happens within the body, considering the body as a site of de- and reterritorialization. And also as the site where the conditions of life are

Following the idea that “the state of emergency we live in is the rule” (W. Benjamin) Pisano centres her analysis on two things: First, the historical and continuous reiteration of the human body finding itself in moments of crisis, and thus exposing the changing political, social and economic structures that have an impact on the bare condition of human (self-) cognition. Second, Pisano’s propositions formulate an inquiry into the formal possibilities to represent the body in crisis, in the realm of art. Drawing a perspective on these critical movements of de- and reterritorialisation of the body and its representation along history, she maps the challenge of affirming that ‘distance’ and ‘repetition’ are as such constitutional for the logic of representation and semiosis in modern and post-modern culture.

Falke Pisano (Amsterdam, 1978) currently lives and works in Berlin, Germany. Attended the Art Academy Utrecht and the postgraduate program at the Jan van Eyck Academy, Maastricht. This year she won the Heineken-CA2M award with her latest work The Body in Crisis (Distance, Repetition, and Representation). Recent solo exhibitions include The Body in Crisis, De Vleeshal, Middelburg, NL (2012), A Sculpture Turning into a Conversation and other works. Picture This, Bristol, GB (2011), The body in crisis (Distance, Repetition, and Representation), Ellen de Bruijne Projects, Amsterdam, NL (2011). Among her group exhibitions are Abstract Possible: The Stockholm Synergies, Tensta Konsthall, Stockholm, SE (2012) Schenkingen van Maurice van Valen, Stedelijk Museum. Amsterdam, NL (2012) For the Blind Man…, ICA London, UK / Museum of Contemporary Art, St. Louis, US/ De Appel, Amsterdam, NL (2010) Rehabilitation, WIELS, Brussels, BE (2010) Modernologies, MACBA, Barcelona, ES (2009). Pisano produced the publication Figures of Speech (designed and co-edited by Will Holder, published by JRP-Ringier, Christoph Keller Editions, 2010).

Upcoming: In 2013 Pisano will exhibit in the Kölnischer Kunstverein.

Ellen de Bruijne Projects
Rozengracht 207 A
NL – 1016 LZ Amsterdam
contact during Fiac: 0031 (0)649485207

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