Co*star
Cross media project icw Mugmetdegoudentand Theatre Company. 1995-1996
Theatre piece + infiltrations of fictitious characters in the worlds of art and entertainment.
Eva Harms is a fictitious well known artist, played by Alix Adams. Her paintings are based on soap images. We meet her at a breaking point in her career when she starts questioning her own work and as a result of that moves from paining to performance art, focusing mainly on Bonsai trees.
Max is a a typical Dutch singer, played by Marcel Musters, who is performing the 1995 summer hit single Zin in jou! on different festivals. For his video clip he has surrounded himself with his family, friends and colleagues who represent a cross section of Dutch high and low culture.
Arty is a young artist and ambitious embroyderie artist, played by Arnoud Holleman. On stage he is assistant to Eva Harms and in her shadow he is looking for ways to promote his own work.
Cross media project icw Mugmetdegoudentand Theatre Company. 1995-1996
Theatre piece + infiltrations of fictitious characters in the worlds of art and entertainment.
Eva Harms is a fictitious well known artist, played by Alix Adams. Her paintings are based on soap images. We meet her at a breaking point in her career when she starts questioning her own work and as a result of that moves from paining to performance art, focusing mainly on Bonsai trees.
Max is a a typical Dutch singer, played by Marcel Musters, who is performing the 1995 summer hit single Zin in jou! on different festivals. For his video clip he has surrounded himself with his family, friends and colleagues who represent a cross section of Dutch high and low culture.
Arty is a young artist and ambitious embroyderie artist, played by Arnoud Holleman. On stage he is assistant to Eva Harms and in her shadow he is looking for ways to promote his own work.
Invitation cards and flyer
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Documentary portrait of Eva Harms for VPRO-television and performance at Praktijk gallery, Amsterdam. Photo's by Cas Enklaar.
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CD-single Max and video clip Zin in Jou!
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Stage pictures by Sanne Peper
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FAMILY
September 12, 2001
1904 - 2013; 1907 - 2090; 1996 - 2074; 1910 - 2097; 1986 - 2094; 1960 - 2094; 1907 - 2061; 1936 - 2081; 1949 - 2059; 1977 - 2016; 1919 - 2054; 1963 - 2053; 1948 - 2068; 1905 - 2079; 1988 - 2043; 1965 - 2014; 1929 - 2008; 1957 - 2046; 1974 - 2054; 1953 - 2095; 1946 - 2045; 1926 - 2048; 1996 - 2030; 1968 - 2014; 1988 - 2094; 1941 - 2019; 1972 - 2076; 1951 - 2007; 1977 - 2070; 1919 - 2054; 2001 - 2080; 1952 - 2094; 1913 - 2088; 1906 - 2020; 2000 - 2001
1904 - 2013; 1907 - 2090; 1996 - 2074; 1910 - 2097; 1986 - 2094; 1960 - 2094; 1907 - 2061; 1936 - 2081; 1949 - 2059; 1977 - 2016; 1919 - 2054; 1963 - 2053; 1948 - 2068; 1905 - 2079; 1988 - 2043; 1965 - 2014; 1929 - 2008; 1957 - 2046; 1974 - 2054; 1953 - 2095; 1946 - 2045; 1926 - 2048; 1996 - 2030; 1968 - 2014; 1988 - 2094; 1941 - 2019; 1972 - 2076; 1951 - 2007; 1977 - 2070; 1919 - 2054; 2001 - 2080; 1952 - 2094; 1913 - 2088; 1906 - 2020; 2000 - 2001
Valéry Proust Museum
Curator Camiel van Winkel has taken German philosopher Th.W. Adorno’s 1953 essay ‘Valéry Proust Museum’ as the point of departure. The exhibition is not a regular group show, but an environment composed of selected works by a range of artists from different periods. Avoiding art historical and thematic selection criteria, the exhibition is based on the idea of the inevitable disappearance of the work of art in the empty spaces of the museum.
Curator Camiel van Winkel has taken German philosopher Th.W. Adorno’s 1953 essay ‘Valéry Proust Museum’ as the point of departure. The exhibition is not a regular group show, but an environment composed of selected works by a range of artists from different periods. Avoiding art historical and thematic selection criteria, the exhibition is based on the idea of the inevitable disappearance of the work of art in the empty spaces of the museum.
My Dad Playing Piano
The closet in his study kept the usual mix of essential and trivial: drawings from high school, student paraphernalia and tons of paper work from his job as a teacher. In an old shoebox we found a microphone and some old music cassettes. When he had retired, eight years before his death, he had picked up playing the piano again. He had taken lessons again and had studied every day. Sometimes he would make a recording of the pieces that he played, as a reality check.
The closet in his study kept the usual mix of essential and trivial: drawings from high school, student paraphernalia and tons of paper work from his job as a teacher. In an old shoebox we found a microphone and some old music cassettes. When he had retired, eight years before his death, he had picked up playing the piano again. He had taken lessons again and had studied every day. Sometimes he would make a recording of the pieces that he played, as a reality check.
Family and friends
Seven drawings of penises in various forms and sizes. Black pencil on 9" x 11" sheets of paper. First published in Butt magazine # 4, summer 2002 and later in Butt book - adventures in 21st century gay subculture, 2006. Based on dating site profile pics, named 'Dieter', 'Bram', 'Henk', 'Andrew', 'Harry', 'Erik', 'Martin' and 'Edward'. The drawings are framed in individual frames and for sale as a group. Price on request.
Seven drawings of penises in various forms and sizes. Black pencil on 9" x 11" sheets of paper. First published in Butt magazine # 4, summer 2002 and later in Butt book - adventures in 21st century gay subculture, 2006. Based on dating site profile pics, named 'Dieter', 'Bram', 'Henk', 'Andrew', 'Harry', 'Erik', 'Martin' and 'Edward'. The drawings are framed in individual frames and for sale as a group. Price on request.
Auntie Truus and Auntie Mok
With utmost concentration I tried to capture the atmosphere in the photos as closely as possible, but again and again I would screw up somewhere halfway. Either the balance in shading wasn’t right, or I couldn’t get the expressions right on their faces. When I finally managed to give Auntie Truus the right expression, I reached the point where I had a physical sensation of being on that lawn on Texel again on that day in 1969, asking Auntie Truus and Auntie Mok to pose for me. At that very moment, reality as such was redefined as an object for exhibition.
With utmost concentration I tried to capture the atmosphere in the photos as closely as possible, but again and again I would screw up somewhere halfway. Either the balance in shading wasn’t right, or I couldn’t get the expressions right on their faces. When I finally managed to give Auntie Truus the right expression, I reached the point where I had a physical sensation of being on that lawn on Texel again on that day in 1969, asking Auntie Truus and Auntie Mok to pose for me. At that very moment, reality as such was redefined as an object for exhibition.
Untitled (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.
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.
Hester
In the drawing, she has her head down because she was reading. She’s spent most of her life reading, its her way out of her depression. I remember being quite conscious of drawing her double chin, since she hates it. My mother hates the fact that she’s losing her jawbone. I thought, ‘No, I’ve got to scrub it out.’ So I drew a shadow there. But these dark areas, the chin and the bags, emphasize her depression more than they show her reading a book.
In the drawing, she has her head down because she was reading. She’s spent most of her life reading, its her way out of her depression. I remember being quite conscious of drawing her double chin, since she hates it. My mother hates the fact that she’s losing her jawbone. I thought, ‘No, I’ve got to scrub it out.’ So I drew a shadow there. But these dark areas, the chin and the bags, emphasize her depression more than they show her reading a book.
Susan Sontag
I’ve always thought of photography as something very magical and it is my belief that this is based on a genuine experience: in my early childhood there must have been no sharp distinction between a real thing and its image. In the same way that kids see themselves as inseparable from their mother until the age of three, I thought that object and image were simply two different manifestations of the same energy.
I’ve always thought of photography as something very magical and it is my belief that this is based on a genuine experience: in my early childhood there must have been no sharp distinction between a real thing and its image. In the same way that kids see themselves as inseparable from their mother until the age of three, I thought that object and image were simply two different manifestations of the same energy.
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