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HEDWIG ARJAN JANSSEN HOUBEN JEAN-MICHEL TOON TEEKEN CRAPANZANO Hector Ceferino Raphaëla Rotterdam Eva Hoonhout Breda SusanKramer Zwambag Maastricht Bertina Tilburg ToscaHollevoet van den Braak Justine BrusselZwolle Nici Metselaar Maaike Iza JaspersUtrecht Utrecht Steven van Wingerden Tilburg
FerdiJacques Speelman Groningen Roland Hoogwater Groningen Vaassen Maastricht TimSanne Hollander Utrecht TomMatea HalletBakula Brussel Utrecht Zoë d’Hont ‘s-Hertogenbosch
INHOUD Pag. 4 INTRODUCTION By Zeus Hoenderop Pag. 6 Leerling/Meester exposities #3
The truth is out there Jean Michel Crapanzano Bertina Kramer | Tilburg Justine Hollevoet | Brussel Maaike Iza Jaspers | Utrecht Steven van Wingerden | Tilburg Pag. 28 Forming, being formed, taking form By Simon van der Weele Pag. 34 Leerling/Meester exposities #4
Hedwig Houben Roland Jacques Hoogwater | Groningen
Tim Hollander | Utrecht Tom Hallet | Brussel Zoë d’Hont | ‘s-Hertogenbosch Pag 58 COLOFON 2
Leerling/Meester #3 v.l.n.r. Steven van Wingerden, Maaike Isa Jaspers, Jean Michel Crapanzano, Bertina Kramer, Justine Hollevoet,
Leerling/Meester #4 v.l.n.r. Tom Hallet, Roland Jacques Hoogwater, Tim Hollander, Hedwig Houben, ZoÊ d’Hont
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INTRODUCTION On the 21st of November 2007, Kunstpodium T was officially opened, exhibiting the work of students graduating from Fontys University of Applied Sciences for the Arts in Tilburg. Precisely 6 years after, the first Pupil/Master exhibition outside the walls of Kunstpodium T opened, titled, rather aptly, ‘THE TRUTH IS OUT THERE’, and hosted and programmed by KOP in Huis voor Beeldcultuur in Breda. The question is: is the truth really on that other stage, outside Kunstpodium T? After all, Kunstpodium T’s physical location is not necessarily the ideal place for artists to exhibit. To guarantee the project’s quality and depth, and to provide a new generation of artists with made-to-measure facilities, we have chosen to host 6 of the 22 planned Pupil/Master exhibitions outside Kunstpodium T. These “satellite locations” in the Netherlands and Belgium have been selected for their specific character and expertise, their position in relation to their city, and their network, fitting for the artists that will exhibit there.
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The truth, as far as I am concerned, lies in an expanding network; the network as future capital for a new generation of artists. Kunstpodium T will continue to play its own unique role in all this, just like all satellite locations will.
Zeus Hoenderop Director of Kunstpodium T
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L/M expositie #3 Jean Michel Crapanzano
J-M Crapanzano “To learn who rules over you, just simply find out who you are not allowed to criticize� Voltaire. (2013) Installation photography, light box, maps, tent, wall drawing.
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J-M Crapanzano “To learn who rules over you, just simply find out who you are not allowed to
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criticize� Voltaire. (2013)
L/M expositie #3 Jean Michel Crapanzano
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J-M Crapanzano (2013)
Video and mixed media’s
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L/M expositie #3 Jean Michel Crapanzano
Justine Hollevoet Video
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Bertina Kramer (1989) ‘Oma’ (2013)
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L/M expositie #3 Jean Michel Crapanzano
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Bertina Kramer (1989) ‘Oma’ (2013)
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L/M expositie #3 Jean Michel Crapanzano
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Maaike Iza Jaspers (1991)‘‘Tableau Vivant’ (2013)
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mixed media
L/M expositie #3 Jean Michel Crapanzano
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Maaike Iza Jaspers (1991) ‘‘Tableau Vivant’ (2013) mixed media
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L/M expositie #3 Jean Michel Crapanzano
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Steven van Wingerden
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Justine Hollevoet text
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L/M expositie #3 Jean Michel Crapanzano
Justine Hollevoet Video
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L/M expositie #3 Jean Michel Crapanzano
Justine Hollevoet 25
‘Tableau Viv
Maaike Iza Jaspers ‘Tableau Vivant’(2013) mixed media, 10 objecten van papier maché, verspreid door de ruimte.
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L/M expositie #3 Jean Michel Crapanzano
vant’(2013)
Bertina Kramer ‘Oma’ (2013)
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FORMING, BEING FORMED, TAKING FORM. “There is this constant feeling of doubt,” Hedwig Houben notes on the sculptures in the video work About The Good and The Bad Sculpture. Houben describes the forms and lines of two abstract sculptures she has made (one “good”, the other “bad”), and surmises that something is not right. The work is not yet finished. In fact, something has gone wrong: the sculpture that was supposed to be good turned out to be mediocre, while the bad sculpture actually turned out pretty well, according to Houben. The principle of About The Good and The Bad Sculpture – to make one good sculpture and one bad one – is, of course, a hopeless task. If the bad sculpture succeeds at its intended purpose, does that not make it a good sculpture, because of its success? And the good sculpture: is it not actually bad, because of its unquestionable quality? It’s no surprise Houben is doubtful, nor that her doubt is felt in the work. The work she shows to her audience, then, is not the work in its final form. To Houben, the process, the work of the artist, is the work that should be shown. Shown, but also discussed: 28
the work is given form by her contemplations about the work, which she shares with her audience. As a result, the act of giving form becomes the form in which Houben presents her work – and she records in in a dialogue with the viewer. While Houben’s work revolves around the process, Jean-Michel Crapanzano’s work is the place where a process takes place. Crapanzano lays down puzzle pieces to be put together by the viewer – or perhaps the puzzle pieces are more like building blocks for the viewer to manufacture his own little constructions. In Breda, he exhibits a large video projection with two films, as well as two installations, one in the front of the exhibition space, and one in the back. The films show a number of photographs of possible UFO sightings, followed by a projection experiment with the faces of political leaders, soothing us with the words “dear friends, I love you all”. Next to it, a small camping tent hangs from the ceiling; around it, boxing gear, parts of a hard drive, a wallet and a gun dangle; on the floor there are clothes, a balaclava and an assortment of camping equipment. Before long, I thought I had it all figured out: a flying saucer that had passed a hapless camper had beamed him up, tent and all. Enthusiastically, I shared my idea with one of the students exhibiting with Crapanzano in Breda. “Well”, she said, “I don’t think that’s how it went down”. She points to the installation in the front 29
of the room, where a tent hangs horizontally from the wall it’s nailed to. “There was an explosion there, and everything’s going up in smoke. The plan of the criminals failed.” “That explains the balaclava,” I think to myself; but what about the UFO? Crapanzano shows us work that has yet to be given form, in the thoughts of the thoughts of hopeless viewer, looking frantically for meaning in this heap of contradicting signals. While in Houben’s work, the solidity of form makes place for constant doubt, for Jean-Michel Crapanzano, form barely plays a role in the end. Nonetheless, their works evoke similar questions. How is a work of art given form? When is it finished? How is its meaning determined? In 1998, French curator and art critic Nicolas Bourriaud wrote about artworks of which the main principle was creating a social situation: about artworks that promote the viewer to participant. “Art is a state of encounter”, Bourriaud said. This notion can be expressed in a literal manner – by, for instance, organizing a meal in an exhibition space, as Thai artist Rirkrit Tiravanija used to do – but there are subtler ways, for example by making the viewer contemplate the artistic process. This way, the viewer finishes the work. Bourriaud coined the term “re30
lational art� for works such as these. He saw relational art as an answer to the lack of real interaction between people in public space, caused by the rise of new communication technology. Art accommodates meetings that do not occur in our daily lives. The Student/ Master Project is a typical example: artists meet, force each other to question their own position and find new forms for their ideas. Art does not only take place in the art object or in the workshop, but also in the meeting, the feeling and the collaboration. Bourriaud pays special attention to the form of the work. According to Bourriaud, form emerges from the meeting of two (or more) formerly separate elements. Form is a formation. Crucially, the form is not just what the artist makes, but also what the artist does with the work, and what happens when the viewer interacts with it. The form of a work of art, Bourriaud says, is given shape in the eye of the viewer. That does not mean the work is finished then and there: the relations that come into being will themselves form new relations, as a part of an endless sequence. This way, the form of the work remains subject to changes. With their work, Hedwig Houben and Jean-Michel Crapanzano address the viewer directly. Together with the viewer, Houben reflects on the process of the development of the work. It’s not about the sculptures themselves, nor is it about the question whether they 31
are good or bad; the dialogue about the nature of art and about what constitutes “good” or “bad” art is central. The work is formed by the discourse, and the discourse concerns the form of the work. Crapanzano lets the viewer draw his or her own lines between the various parts of his installation. He confines his own part to supplying the raw material, and leaves it to the viewer to do something with it. This way, the work is given form by the viewer’s perspective. Bourriaud uses a tennis metaphor: the artist tosses up the ball and serves; after that, it is the viewer’s task to return it. Art, then, is a game played between artist and viewer, and between viewers among themselves. This dynamic is evident in the two exhibitions. Master Houben and her Students let the visitor reflect on all facets of the work: the creative process, the exhibition and the relation between the artist, the art object and the viewer. For Master Crapanzano and his Students, the emergence of meaning is central, along with the active role of the individual in the formation and interpretation of a “truth”. Houben, Crapanzano and their Students show art as a process, and make the viewer into a part of this process. The work is never finished; it is in full swing – it’s up to us to shape the work in this form. © Simon van der Weele 32
L/M expositie #4 Hedwig Houben
Hedwig Houben (1983) ‘About the Good and the Bad Sculpture ’ (2009) video, 4:30 min, 2009
L/M expositie #4 Hedwig Houben
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Hedwig Houben ‘About the Good and the Bad Sculpture ’ (2009) video, 4:30 min, 2009
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L/M expositie #4 Hedwig Houben
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Tom Hallet (1990) 37
Tim Hollander (1987) ‘A guide into a work I never made (2012/2013) (Round table with round objects) 54 x 33 x 12 cm - painted wood, glass, conceptual artwork on paper
Tim Hollander ‘3/50 ways of approaching the relationship between five artists ’ (2013) 140 x 90 cm - digital print on paper, frame
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L/M expositie #4 Hedwig Houben
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Roland Jacques Hoogwater (1987) 40
L/M expositie #4 Hedwig Houben
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Roland Jacques Hoogwater
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L/M expositie #4 Hedwig Houben
Zoë d’Hont
(1990)
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Roland Jacques Hoogwater
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L/M expositie #4 Hedwig Houben
Roland Jacques Hoogwater
L/M expositie #4 Hedwig Houben
Tim Hollander ‘Proposal for a cabinet’(2013) 110 x 60 x 20 cm - painted wood, glass, perspex
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Tom Hallet
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L/M expositie #4 Hedwig Houben
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Tim Hollander ‘2 guides for looking at an exhibition’ (2013) 30 x 21 cm - digital print on paper
Tim Hollander ‘Proposal for a cabinet’(2013) 110 x 60 x 20 cm - painted wood, glass, perspex
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L/M expositie #4 Hedwig Houben
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Zoë d’Hont
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Bertina Kramer
Justine Hollevoet
Emmeloord 1989
Oostende 1990
FHK Tilburg
LUCA School of Arts, Brussel
http://k ra mersportfolio.wordpress.
www.hollevoetjustine.blogspot.be
com/
hollevoetjustine@gmail.com
bertinakramer@gmail.com Op zoek naar de verhalen die bestaan
De installatie is opgebouwd als een
over de afkomst van oma. Wat is het
herinvulbaar open verhaal, een afleve-
echte verhaal? Waarom werd ze als baby
ring, een film, een narratie. Het is een
afgestaan? Wie was haar vader? Was hij
recyclage van hedendaagse cultuurpro-
een rijke edelman of een arme flapdrol?
ducten. De manier waarop wij omgaan
Alle verhalen vertellen iets anders.
met televisieseries, films die vaak obses-
Iedereen interpreteert anders. In deze
sief is en nauw verbonden aan ons eigen
expositie beeld ik de verschillende inter-
leven wordt in de opstelling van de vi-
pretaties af.
deo installatie weerspiegeld. Ook kaart
The truth is out there.
de specifieke accrochage het incestueus karakter aan van onze hedendaagse populaire cultuur. Met dit werk hoop ik een wisselwerking te creĂŤren tussen genres, de lege personages, de kijker, realiteit en fictie.
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Maaike Iza Jaspers
Steven van Wingerden
Nijmegen 1991
Breda 1991
HKU www.maaikejaspers.nl
FHK Tilburg
maaike.jaspers@live.nl
steven.van.wingerden@live.nl
Momenten uit de werkelijkheid vormen
In mijn werk zoek ik naar contrasten.
in mijn tekeningen, performances of
Bijvoorbeeld tussen mens en natuur en
films nieuwe, ietwat bizarre situaties.
tussen mensen onderling. De oneindig-
Onwaarschijnlijk naast elkaar geplaats-
heid aan verschillende opvattingen en
te elementen bevragen elkaar en lijken
subjectieve werkelijkheden heb ik al-
hun functie of bestaansrecht -de relatie
tijd intrigerend gevonden. Ook in mijn
tot de ander- nog of opnieuw uit te
werk voor het Leerling/Meester project
moeten vinden.
laat ik dit terugkomen. Een videopro-
www.stevenvanwingerden.nl
jectie toont welke betekenissen we vanIk balanceer voortdurend tussen het
daag de dag toekennen aan bekende en
bepalende idee en het nog onbekende
onbekende symbolen en nodigt je uit
proces waarin een experiment zich tot
om na te denken over je persoonlijke
een beeld vormt.
interpretaties en betekenisgeving.
L/M expositie #3 Jean Michel Crapanzano
Roland Jacques Hoogwater
Tim Hollander
Groningen 1987
Amsterdam 1987
Minerva
HKU
www.rolandhoogwater.com
www.timhollander.com
info@rolandhoogwater.com
timhollander@gmail.com
I have made quite a bit of work. Some
De installaties en werken van Tim
of it cohesive to a whole. Some of it not.
Hollander zijn een onderzoek naar het
Mostly I would like to make more work
presenteren, cureren en vertalen van informatie, drie belangrijke factoren in zowel hedendaagse als oudheidkundige musea, die onze perceptie op deze informatie sterk be誰nvloeden. In zijn installatie in Kunstpodium T zijn veel museale elementen terug te vinden, maar niet altijd zoals ze bedoeld zijn.
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Tom Hallet
Zoë d’Hont
Leuven 1990
Tilburg (1990)
LUCA School of Arts, Brussel
AKV|St.Joost Den Bosch
tomhallet@hotmail.com
zoedhont@gmail.com
The mind is a collection of fragements
De vaak interdisciplinaire werken ont-
that collaborate to create thoughts.
staan procesmatig, en het zoekende
Every element is seperatly fragile and
karakter blijft zichtbaar. Door de
has its own purity. I investigate the idea
toeschouwer te laten meespelen of de
of these thoughts as elements just before
context binnen óf buiten een werk te
they come together and create what we
veranderen, krijgt het een beweeglijk
see. Those elements can easily be con-
karakter, het worden is belangrijker dan
nected to objects. We are surrounded
het zijn. Het werk in de tentoonstelling
by them and they make up our envire-
is ontstaan uit een imaginaire reis naar
ment. They form the answers to future
IJsland.
questions. The attempt to transpose reality into a state of mind, combines visual facts that surround us with mental states to create a new reality. The blurring which this creates between the seen and the unseen unites the physical and the metaphysical.
L/M expositie #4 Hedwig Houben
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COLOFON Hoofdredactie Zeus Hoenderop
eindredactie en coĂśrdinatie Mariska van Zutven
Vormgeving Hiske Akkermans Stefan Blommaert Mariska van Zutven
Fotografie Mariska van Zutven Zeus Hoenderop Margot Roijackers Anna Bedaux Jean Michel Crapanzano
Teksten Simon van der Weele Zeus Hoenderop
Kunstpodium T Noordstraat 105 5038 EH Tilburg +31 (0)6 23284954 redactie@kunstpodium-t.com www.tempmagazine.com www.kunstpodium-t.com
Openingstijden Donderdag t/m zondag 13.00u - 18.00u
Oplage 1000 exemplaren
Coverfoto Justine Hollevoet Mede mogelijk gemaakt door
Vertaling Lenne Priem Temp komt voort uit de behoefte de tijdelijkheid van onze tentoonstellingen te overstijgen en deze te laten voortleven in de vorm van een tijdschrift. In onze uitgaven vind je korte kritische besprekingen van kunstwerken die geĂŤxposeerd worden in de presentatieruimtes van Kunstpodium T tijdens het Leerling/Meester project.
Kunstpodium T bedankt Mariska van Zutven voor haar tomeloze energie en enthousiasme in de afgelopen jaren als coรถrdinator en eindredacteur van Temp. Temp. zoals wij deze kennen houdt na dit nummer op te bestaan en gaat door in een andere vorm. voor meer informatie over Temp: www.tempmagazine.com
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isis een een uitgave uitgave van van Kunstpodium Kunstpodium T T Jaargang 43 | 2013 2012 - 2014 2013