Marinus van Dijke | Changes / The Great Underwater Show | 2021

“In the summer of 2019 I was a beach breeder keeper on a stretch of coastal growth near the ‘Verklikkerstrand’ (Tell-tale Beach) on Schouwen-Duiveland. This has changed my view of nature there. I always thought the changes in nature were cycles repeating themselves over and over. In the dunes, the plants die and come back after a few years after a leaching process has taken place. These are visible processes. But I have discovered that those processes are subject to much larger cycles, which are incalculable. We are at the beginning and do not know where it is going. All those small movements in nature are swallowed up by these larger cycles. Today's sightings are quickly outdated and before you know it history. How we currently look at the now, knowing that it will be completely dif-ferent in the future. This thought has a major influence on my work.

The film The Great Underwater Show shows a world that takes place under/in water. The water that, due to the consequences of climate change, confuses our habitat due to possible flooding (sea and rivers).”

Jean Godecharle | Watou_v1 | 2019

Watou_v1 is a static recording made in September 2019 at 2:02 pm of an artwork installed in the garden of Hilde Vandaele Gallery in Watou for the exhibition

Frozen in Time. An excerpt from the introduction to this exhibition written by Mieke Dumon: “When I look at Jean's photos, a kind of unheimlichkeit overtakes me. How he makes time stand still, fan out almost like a drop that falls into a pool of water and expands in silence. My good friend Jean, because he is dear people, is an omnipresent man. The way he stands, the way he looks at people. The way he laughs. Loud, penetrating, present, sharp. That sharp look is reflected in his photos. The eye, the insight into a place, but above all: what time does to that particular place. No people, but vast landscapes, spacious places hidden between dunes, in forests. From the darkness he looks for the light, his photos are representations of places you didn't even know existed. Inside and outside are intertwined, which is why his work also comes into its own outside between the trees in this garden. As monumental as nature itself. Very near, but just out of reach

Nikola Ivanov | Day For Night | 2017

“

In the Euro-American tradition, the opposite of wakefulness is the sleep of reason. The space that irrationally unfolds like an infinite gap between the moments of the waking state, is a place of investigation of the modern psychology and science, and at the same time, since ancient times, an area of mysterious narratives, superstitions and the unknown potential. Film is a relatively good medium of irrational sublimation. It can serve as a border medium between the personal and the public and between the believable and the unbelievable.

Nikola Ivanov works with everything: present film and video as with matter, material for our presence as natural as malleable clay was for prehistoric cultures.”

Tereza Rudolf

Nikola Ivanov | Later Before I Forget | 2014

In the beginning there was a thing that seemed to resemble a piece of burnt paper. A photograph, its technical reproduction, was created from this thing. The photo of the ashes was then allowed to burn out in real life so that a video recording and other photos could be created. This cycle of deconstruction was consistently repeated once more. Nikola worked with minimal post-production means while creating. The burning process is completely realistic.

Where are the limits of our perception? To what extent are we able to distinguish a real image from its copy? The video aims to objectively evaluate the state of today's man, who lives almost in the sense of the society of Guy Debord's spectacle. Society creates a false sense of reality of itself. The authenticity of reality is replaced by images that obscure reality, making people mere passive spectators.

Sára Davidová

Annelies Jahn | Yellow: Walk #4074 | 2020

“Walk. Do this without thought, without effort. Walk as if your feet were lungs serving their unconscious purpose.”

Sonia Overall, The Art of Walking, 2015

Yellow: Walk #4074, 2020, is part of an ongoing practice of random recordings of my act of walking through places. They occur within the everyday purpose of simply moving from one place to another – from here to there. They are evidence of the negotiation of space through time. Paced out to my own rhythm, this pedestrian mapping brings about an embodied knowledge separate to, but layered over the collective memory of others. This work is comprised of three vertical videos which were viewed together on my computer screen and re-filmed with the i-phone.

Instagram: @anneliesjahn

Annelies Jahn | after the rain, 2021 | single channel video, 00:46 looped

Collecting discarded objects and ephemera has always been a large part of my art practice, as acts of observation and curiosity. These ‘collections’ are opportunistic, they occur by chance by a sense of always being aware of a place, a time and circumstance. To capture the moment… the feeling of something.

This video, after the rain, is one such moment, the clearing after a heavy storm with the water continuing to drip down from my roof. It is a moment of taking notice.

Instagram: @anneliesjahn

Hester van Tongerlo | 02-12-2014

During a residency in Den Helder, I examined my pain threshold and wondered what pain exactly is. Is pain a concept that I have been taught, is my experience of pain dependent on what my environment has told me? Is it something my body is doing or feeling, or is it a mental sensation and pain in my head? I decided to film myself braving the cold sea water on a frosty December day in 2014 to get answers to these questions.

Year: 2014

Location: Den Helder

Media: Video, performance

Harriet Rademakers | The tide and the weeds | 2022

Video editing: Jochem Westrate

If the sea could think, what would it think? And the seaweeds, which originated in her tidal strip and made all the animal life possible?

( Arjen Mulder, De Gids, nr 3 / 20121 )

Time and time again I went back to the Oosterschelde and always found the weeds in a different disguise - dark and murky, low over low, still and slow heaving, or shiny, reddish, wildly swinging, fierce and impetuous, moving unpredictably, under and above water.

As if the seaweed in the flow between ebb and flow, bound by a single small foot to stone, at any moment wants to escape from the ancient, most original existence.

As if the weed thinks and tells that the earth, the moon, the sun, the wind, the sea will produce life again and again in the game of material bouncing against each other.

Françoise and Paul&Menno de Nooijer | PAINTING BLACK,

2022

The De Nooijers’ film work is a continued attempt to allay the inexorability of time. This may or not be possible, but the desire tot do so is their main motivation. Hoodwinking time has kept them busy for fifty years - even now, as time catches up with Paul and Françoise. The years are arranged in a ticking time bomb. Time leaves its mark on the faces and bodies of the main characters. The young grows old, the healthy sick. For fifty years they gazed intrepidly into the camera lens. But uncertainty has crept in. What started as bravado ends in melancholy. In that sense, this book is a farewell. Not only a farewell to an oeuvre, the result of fifty years of filming, but also a farewell to a coexistence marked by photography and film.

Peter Delpeut, translation Michele Hutchison

PAINTING BLACK is one scene from the 19 minute film IS HEAVEN BLUE?

A film by Françoise, Menno en Paul de Nooijer about art, paint, love, light, life, darkness, sadness, saying goodbye and … saying goodbye to each other, working together, life and the place where we are happy.

In PAINTING BLACK, Paul and Menno are visible (as in much of our work).

Hans Eneman | from MIND! NEVER MIND! ( 2002 )

The Crossing / Angel, 2002

MIND! NEVER MIND! (2002) revolves around the inability to feel, understand, let alone fathom the other (as we usually call someone we consider mentally not like us).

The video attempts to depict the other and its otherness, but it should be clear that art can do little more than speculate. It ultimately leads nowhere. Except for beauty perhaps, or the light of the sun.

Authors videos

Nikola Ivanov | www.instagram.com/nikolaivanov

Jean Godecharle | www.jeangodecharle.com

Ying Liu | www.strangerying.com

Hester van Tongerlo | www.hestervantongerlo.com

Noortje Haegens | www.noortjehaegens.com

Marinus van Dijke | www.marinusvandijke.nl

Annelies Jahn | www.instagram.com/anneliesjahn

Françoise and Paul&Menno de Nooijer | www.denooijer.org

Hans Eneman

Harriet Rademakers

Organisation

Jochem Weststrate | video editing

Joan Kruse | photos projection locations teamCAESUUR | production hans overvliet | catalogue

We thank our neighbours

Berbel

Esmé & Bert

Gertrude & Jan

Support in 2022 the happy shareholders & ditto friends of CAESUUR | Family Fund Hurgronje the province of Zeeland | the municipality of Middelburg | Mondrian Fund

Kattendijke / Drucker Foundation | Frits Lensvelt Foundation

Westerschelde Ferry | Region Stockholm teamCAESUUR

Jorieke Rottier, Willy van Houtum, Giel Louws, Hans Overvliet Lange Noordstraat 67, 4331

ruimteCAESUUR

Since 1995, exhibitions of contemporary art have been made in CAESUUR, from 1999 on at Lange Noordstraat 67 in Middelburg. Visual arts, in relation with contemporary art discourse, are always the guiding principle for an exhibition, but a historical and social perspective also determine our choices.

ruimteCAESUUR stands for the autonomy of art and puts the artist’s oeuvre at the center of organizing its (solo) exhibitions. Young, novice and “arrived” artists are offered a platform to present their work in a non-commercial environment.

Meeting and learning from each other play an important role within the annual planning of ruimteCAESUUR.

We form a private initiative, without any profit motive, with Willy van Houtum and visual artist Hans Overvliet as its core; they form the board of the CAESUUR foundation.

teamCAESUUR is more than completed by the visual artists Jorieke Rottier and Giel Louws.

The exhibitions in 2022 were organized in cooperation with several art initiatives: Lípa Art Collection and Luxfer Open Space, both from the Czech Republic, Platvvorm from Belgium and Slipvillan from Sweden.

Exchange with Dutch artists ensures reciprocity in this process.

The unique composition of our team crosses borders of art practices, gender, and generations.