In “Particle”, a new work created for Ellen de Bruijne Projects, Michiel Kluiters has decided to challenge his own practice in a particular way. Working in the medium of site-specific architectural interventions, the challenge was to react to the parameters of the same gallery space for the third time. In his first piece produced here, entitled “Room 9 and 10” (2002), Kluiters had altered the perception of the gallery by using large-scale photographs of the actual space; this intervention extended the visual field not only by incorporating the third dimension into the photographs, but also by revealing the hidden ‘back-stage’ of the gallery space. In his second intervention entitled “Mesh” (2005), the empty gallery space was transformed by the multiplication of white pillars, interrupting the navigation of the visitors and juxtaposing it to the video of vacant new urban development areas in the Netherlands. Michiel Kluiters’ third confrontation with this space comes in the form of an object, a 2.5 m wide geometrical ball shape consisting of 96 large mirror particles.
“Particle” is a silent, static, gigantic reflecting object of an almost alien nature, with the power to blend two usually separated levels of perception. On the first level, the perception of the gallery space is multiplied through its fragmented reflection, while the second level now directly interpolates the subject of a silent observer. The gaze of the viewer is deconstructed and returned in its fragmented form, destroying the assumed objectivity of rational contemplation normally practiced in contemporary exhibition spaces. This necessity to include a human observer in any theory about space evokes the thinking of one of the most important quantum physicists, David Bohm. In his vision of reality, Bohm saw elementary particles as a collection of silver balls, where each ball reflects every other one, including itself. According to this, the universe is characterized by infinite reflectivity in which each part is contained in everything else. In a similar manner, Kluiter’s defragmented mirroring surface opens up numerous levels for reflection and interpretation, including the one of possibly being a metaphor of an artist who has taken upon the task to reflect upon his own practice.
After a series of works executed mainly in traditional exhibition spaces, Michiel Kluiters has decided to present his work in the last years in more challenging environments. Hence, he is participating in public commissions in various towns in the Netherlands, intervening into the public space within different social and political contexts: “Confetti” (2010) Sports campus, Wijchen; “Tijdruimte” (2010), City Hall, Veenendaal; “Oranjerie” (2011), City Hall, Haren; “Hotspots” (2011) Education Boulevard Lewenborg, Groningen, "Polaris" (2011) Minkema College, Woerden. In 2009, The Netherlands Media Art Institute (NIMk) Amsterdam has awarded Michiel Kluiters the contract to design the Media Art Mobile with which the NIMk will travel to schools, festivals and other venues, now in pre-production phase.Vesna Madzoski
In DoloresMarianne Vierø - Modern Indoor Gardening
In this most recent installation “Modern Indoor Gardening”, Marianne Vierø continues to explore the relationship between value systems, substance and form. Using and misusing an arbitrary collection of references, she establishes a performance-like alliance between the seemingly unrelated group of objects and images that constitute the installation.
A central component of the installation is a set of objects defined by traditional Japanese wood joints. Although the joints are relics of a proud tradition, Vierø's real interest is their resemblance to grafting cuts, which enable a branch of one plant to grow on the stem of another. In creating an object that deliberately misinterprets its own source material, Vierø deflects its meaning, letting the Japanese wood joints point expectantly into the space of the installation. While defeating their original function in architecture the joints regain a function as a point of entry to their own structure and binding elements for the installation as a whole.
Other agents in the installation include sheets of plywood and photographs of wet clay. In the constellation of each others' presence, these apparently matter of fact materials gain a sort of animism. Vierø explains: "To me each element of the installation has this dual quality, at once stating its presence at face value and as something more profound. I'm not always sure where it's headed, but it seems to me like the works are literally working it out between themselves. It's a romantic idea, but it's something I like to watch." In this way Vierø becomes a spectator of a process where diverse fields such as hobby art, High Modernism, craft tradition and industrially standardized forms negotiate their own relations.
Typical of Marianne Vierø's practice, the title “Modern Indoor Gardening” employs a similar strategy as the physical element of the show, but in linguistic form. Borrowed from the title of a gardening book the three words seem unwillingly forced into one phrase. Each word remains a protagonist of its own individual meaning, only reluctantly working together with the other words. Still, when presented in conjunction the words seem to offer insight that reaches beyond their intended reading.
In line with its ever changing nature “Modern Indoor Gardening” has been presented in a number of manifestations in Arsenale Novissimo (Venice, 2009) and Gallery Number 35 (New York 2009).
Marianne Vierø (Copenhagen, 1979) currently lives and works in Amsterdam, where she graduated from the Gerrit Rietveld Academy in 2005. She was a resident artist at Künstlerhaus Bethanien in Berlin in 2007 and at the Rijksakademie van Beeldende Kunsten in 2008 and 2009. Vierø’s work has recently been shown at Fondazione Arnaldo Pomodoro in Milan, Klaus von Nichtssagend Gallery in New York and Fotografisk Center in Copenhagen.
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