Arnoud Holleman
Amsterdam, Sunday June 25, 2017
Broken Thinker
De Denker van Auguste Rodin is een iconisch misverstand. Sinds het ontstaan in 1881 wordt er een beroep gedaan op het denkvermogen van het beeld, terwijl het slechts de pose van het denken uitdrukt. Welbeschouwd is de Denker een lege vorm waar iedereen op mag projecteren. Dat heeft geleid tot een waaier van ideeën - en clichés - over de mens die nadenkt over zijn bestaan.
Provisional Space
ROMA Publications presents: Provisional Space - Nickel van Duijvenboden, Kees Goudzwaard, Arnoud Holleman, Rob Johannesma, Irene Kopelman, Jan Kempenaers, Mark Manders, Batia Suter, and Roger Willems. Curated by Mark Manders and Roger Willems. February 11 - April 7, 2012. Opening reception, Saturday, February 11th, from 6pm to 10pm, with a talk by Arnoud Holleman at 8pm. Castillo/Corrales, 80 rue Julien Lacroix, 75020 Paris.
Recto / Verso
Interview covergirl Lauren Hutton was photographed by Francesco Scavullo in 1973. She's wearing Galanos - from his exciting fall 1973 collection. Accessorized by Galanos, makeup by Way Bandy, hair by Rick Gilette. The photo was re-photographed by Anuschka Blommers and Niels Schumm in 2003, with model Uta Eichhorn posing as Re-Magazine covergirl Claudia. She's wearing a black dress by Hermès. Styling by Katja Rahlwes, makeup by Renata Mandic.
On ne touche pas
One image is not the same as the other and there are also images that know their place: images that not only form a world in themselves but also refer to a more complex reality beyond themselves. And this is what I would like to focus on in this lecture, with the help of my film Museum, dating from 1998. For me, reflection on earlier works is not meant to dwell in the past. It is meant to stimulate preciseness and to develop internal coherence.
Museum
Museum (1998) is a re-mastered, projected version of a 1980s video by French gay porn director J. P. Cadinot. After Holleman cut out all the sex scenes, all that is left are young boys in hot pants and uniforms wandering aimlessly through a cheap film set of rooms in a nondescript museum. The eclectic art collection functions merely as a prop, but since there is no apparent action either, it’s not clear what the props are for.
Me and Larry Clark
Holleman looped the legendary shot of one the protagonists relieving himself after a night of steady drinking, emptying a last can of beer while doing so. After a while the calm splashing becomes reminiscent of a Zen fountain rather than a toilet, forming the audio backdrop to the show. Holleman filmed this fragment with a video camera in a cinema, in an exploration of appropriation, as well as of the status of the original images. (Willem de Rooij in Frieze magazine)
Onkenhout
Staring at the picture of the garden on the postcard I catch a glimpse of my mother in a version of her life that she never lived, one in which Nico had gotten in touch, after that evening out. Perhaps now she’d have a different surname and be sitting by a different fire drinking wine with a different child. In a moment that feels like an oedipal short circuit, I experience something impossible: that I never existed.
Retitled
For the last couple of years in a row, artists had been invited who felt at home in a big show environment. This had thrown up a number of lively and playful installations, but this year the budding tradition was in jeopardy: for a variety of reasons there was next to no money for art projects. The only kitty in the budget that might be called upon had been set aside for the printing of the half a million paper napkins that were to be used during the festival.
The Second Commandment
The best way to make the difference between meaning and madness is by saying the things you have to say as precisely as possible, with every means available to you. In that respect, the recontextualisation of older work is one of the strategies that could be investigated in more depth. Sometimes it makes more sense to ‘re-present’ old work than to simply produce for production’s sake and prematurely declare the old as passé.
Untitled (Staphorst)
In this mediation between being and non-being we can do nothing else than continually behave as camera-genic as possible. See and be seen via the image has become a cultural and existential duty. This primacy of image and visibility however is no universal, natural condition: Islam’s interdict on images originally, according to the second commandment, also applied to Christendom.