The Bungalow Special Edition

special edition (40)
signed and dated

5 inkjet-prints of 20 x 28,5 cm on matt light-weight (3), metallic (1), matt heavy-weight (1) Epson photo-paper

semi transparent photo-sticker on sour-free cardboard together in plastic bag

sour-free cardboard comes in 4 different colors (yellow, orange, blue, dirty-pink) when you order the special edition the colour randomly finds you

BYOB ISCP

BYOB (Bring Your Own Beamer) is a series of exhibitions hosting artists and their projectors. On the occasion of the open studios at ISCP at the end of the 9 month residency at ISCP New York I had hosted this event during the open studios weekend at the end of April 2014.

BYOB is an open source art concept, where artists and their projectors make a collaborative exhibition, which is essentially an exploration of projection as a medium. BYOB is an initiative of the Dutch artist Rafael Rozendaal and in the Netherlands, we call projectors: beamers, that’s why it's called BYOBJ. The social aspect in this dynamic collaborative experience I see as an rich extension of my own practice.

BYOB participants:

Jessica Adams (US) Jenny Brockmann (D) Mikkel Carl (DK) Daniel de Carvalho (BR) Maja Cule (CRO) Bianca Hildenbrand (CH) Rasmus Høj Mygind (DK) Anouk Kruithof (NL) Annalena Müller, Nicki Langer (CH) Maciej Markowicz (PL) Christof Nüssli (CH) Johannes Paul Raether (D) Maria D. Rapicavoli (IT) Claudia Retegan (RO) Rafael Rozendaal (NL) Sven Sachsalber (IT) Keren Shavit (IS) Justin Swinburne (US)

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#evidence

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THE BUNGALOW

watch video

edition (1200)

View book on publishers site

Hardcover, 272 pages
full color, black&white, duotone
170 x 228 mm / 7 x 9 inches

Concept & image: Anouk Kruithof
Book concept: Anouk Kruithof, Christof Nüssli
Graphic design: Christof Nüssli
Source of images: Collection Brad Feuerhelm
Texts: Anouk Kruithof, Brad Feuerhelm, Freek Lomme
Advice: Freek Lomme
Translation: Taco Hidde Bakker
Publisher: Onomatopee  (106 / Cabinet Project)
ISBN: 978-94-91677-23-6

Immersed in collector Brad Feuerhelm’s vernacular photo collection, artist Anouk Kruithof moved into a bungalow where she developed a niche relationship with the photos and transformed the image archive. She visualizes scenarios in which images, through the imaginary space of our conception, and parallel to digitization, leap across the tooth of time. The personal image relations, all but magically approached and released, offer new perspectives, to relate us, one-to-one with the image, to the present post-digital image economy in which our image memory moves. Furthermore, the technical angles give insight into the way we can process our image memory.

 The five differently-processed image stories make this book a layered ‘Gesamt-sculpture’ that has a lot to say about the actual status of our image memory. The Bungalow is an ‘image wonderland’ in which a closed meeting represents the ‘bite’ of the leap.

Within interpretations of a wall

Text | Images

Part of Paulien Oltheten and Anouk Kruithof

March 14 - June 8, 2014 at STEDELIJK Museum Amsterdam

The work of Anouk Kruithof – photos, installations, sculptures, and artist books – is often derived from social interventions in the public space. She uses the camera as a strategic tool for making contact with the outside world. The photos then form the basis of her final works, in which the artist frequently includes everyday or industrial construction materials such as sponge or insulation material. With this, Kruithof explores and challenges the boundaries of photography as a medium. In the presentation entitled Within Interpretations of a Wall, Kruithof reveals her fascination for the “wall,” which functions both as an architectural element, and as a poetic delineation and metaphoric boundary within the human psyche. In Der Ausbruch einer Flexiblen Wand (Hart und Weich) 2011, the viewer is confronted by photographic prints of two disintegrating walls constructed from sponges. The two monumental walls on which the work is presented act as barriers in the space. In Driving Hazy, Push-up (2013) and Façade (2014), Kruithof uses irony and shifting perspectives to shed light on the psycho-social state of contemporary New York. Using an unorthodox visual language, she depicts the pressure of work, the drive to perform, stress, anxiety, power dynamics, and the fine line between success and failure. For the installation Push-up, Kruithof asked business people to perform as many push-ups as they could at the entrance of large corporations. She continued until security guards told her to leave for liability reasons. In Off the Wall (2014), the walls of various wards of the Altrecht psychiatric institution in Den Dolder (where Kruithof was artist-in-residence at The Fifth Season in 2011) form a colorful index. In this new work, Kruithof asks where, precisely, is the borderline between “healthy” and “mentally ill.” (Powersponge) Brick 2013 shows a gigantic brick wall made of one thousand sponges onto which the apple Spectrum screensaver is projected. the wave of colors is soothing, but, as it is crushed between a pair of walls, it also becomes an extraordinarily claustrophobic image.

every thing is wave

solo exhibition at gallery BoetzelaerINispen Amsterdam from September 7 till October 26th 2013.

groups of works existing of photos, sculptures, installation, projection, take-a-way ephemera

New York City is a universe of paradoxes. Observations from this metropolis, where Anouk Kruithof resided for extended periods within the last two years, are the basis of this solo-exhibition at Boetzelaer|Nispen.

Anouk Kruithof uses gentle irony and changing perspectives to shed light on the psycho-social state in which New York currently is. A state of which the dynamics of power,

with as a result the absurdity of the contemporary stress/drive society, are depicted in an opaque and poetical language.

Contradictions provide freedom and cause productivity, which creates an endless wave of movement. Reality is never to completely be understood, which makes it necessary to embrace contradictions. This creates an openness which opens the door of contemplation.

Everyone who moves to New York needs to learn his way by trial and error. Because of the toughness of the city one is quickly taught to transform every form of negativity to its opposite. This generates the perseverance, force and drive of the people in New York. The stress driven city is overflowing with energy. The constant stream of impulses also stimulates mental craziness. The grey area between these two examples is what fascinates Anouk Kruithof profoundly.

‘Every thing is wave’ is a group of new works with a conceptual basis consisting of photos, sculptural displays, projections and text. Anouk Kruithof executes public actions; she stages conversations with strangers and strategically uses the photo-camera to get closer to people and to create contact. Subsequently the photos are the basis of the final works, where the images establish a relationship with specifically chosen materials. Kruithof has a preference for industrial but ordinary materials. Materials, that to her, are full of poetical meanings outside the functional intentions of the object. For example ‘BlinQ powersponges’, isolation material and the ready-made Apple screensaver ‘spectrum’ are part of works in the exhibition. She plays with metaphors that lie within the material in combination with the narrative character of photography.

Next to ‘Every thing is wave’ Boetzelaer|Nispen will also present the project ‘Pixel-Stress’ by Anouk Kruithof at the photography fair Unseen, which takes place from September 26th till 29th at the Westergasfabriek in Amsterdam.

download PDF of this exhibition here

 

 

 

 

 

 

 

(powersponge) Brick

(powersponge) BrickSculpture out of approximately 1000 BlinQ powersponges and projection of laptop with Apple screensaver spectrum projector mounted on wall with Security Camera wall mounting bracket arm Wood, sponges, glue 214 x 53 x 111 cm

Pixel-Stress

is an artistbook published by RVB-books, Paris.The book came out in october 2013 and got launched at UNSEEN Amsterdam, OFFPRINT Paris and at Printed Matter in New York.

look at the video documentation of the book here order this book here order the special edition here

Underneath you'll find the documentation of this book, a solo exhibition at UNSEEN with gallery BoetzelaerINispen and pixel-stress as part of the groupexhibition Undercover at Erarta museum st. Petersburg Russia On the 18th of April, 2013 Anouk Kruithof and two assistants went to Wall Street in New York City and built a temporary installation of 14 framed prints of different sizes on the edge of the city’s pavement. The prints looked like pixelated monochromes, but were in fact illustrations blown up  to a maximum size (3200% in Photoshop) of images found by using Google searching the word stress. Anouk Kruithof asked pedestrians to look at the installation and then had conversations about the pixelated monochromes, the meaning of this project and the potential interpretations of the work. Kruithof asked the people involved if they would like to buy a print, both engaging a commercial gesture and condemning the scarcity of the city dwellers encounterings. She sold 8 of the 14 prints bought by 7 participants when the day’s rain warded off further efforts. Kruithof was not allowed to conduct monetary transactions, so that once a participant told her a price for the print, she actually gave it for free, thus creating an imaginary sale transaction.

cover and back of the book

Pixel-Stress

edition (1000) 20X32cm Soft cover, stapled 100 pages 52 color photographs & photo-montages

concept, text and images by anouk Kruithof design by Anouk Kruithof and Remi Faucheux

english 2013< published by RVB-books Paris ISBN 979-10-90306-21-9

ORDER HERE

special edition (30)

Screenshot of "anouk-kruithof-pixel-stressed.jpg" blown up to 3200% Framed lambda print 32X21,6cm. Laser print of"anouk-kruithof-pixel-stressed.jpg" stick on the back of the frame

view special edition and order here

UNTITLED (I've taken too many photos I've never taken a photo)

photo installation

75 inkjetprints on foam in 3 different sizes: 24-32 / 30-40 and 50-70 cm

A2 double sited poster / full colour 1000 copies in French & 1000 copies in English to take away for free

30 mirrors

solo exhibition at Tour les Templiers during Hyeres festival de mode et photographie in Hyeres France

Untitled (I've taken too many photos / I've never taken a photo) 2012 is a social conceptual project resulted in a spatial photo installation. A guy called Harrison Medina from Bed Stuy, an almost gentrified ghetto in New York, who never made a photo in his life before, selected 75 photos and their sizes out of Kruithof's 'automagic picture archive '. She found this guy through a street-poster-call. During the selection process she recorded the conversation with his comments on art, photography and society, which can be seen and red on the take away poster, which comes a long with the installation. Viewers could take a mirror to 'frame their own pictures'. This work could be seen as 'analogue interactivity'. The work is a psychical and surprising experience, where both spectators as the selector (Harrison) play important roles.

View Poster (444kb PDF)

Read more about this project:

TIME MAGAZINE LIGHTBOX Link Liberation HERE  (585kb PDF) Creative Review HERE (860 kb PDF)

2012

Intercollapsing

2010

photo installation

BW wallpaper 373-400 cm / 2 x 100-100 cm and 2 x 150-150 cm bw inkjet prints on dibond / ceiling panels of various sizes

Installed in in the emergency exit at Het Nederlands Fotomuseum Rotterdam during the groups exhibition Quickscan 01, Dutch contemporary photography now 2010 and the installation was installed at Second Act Festival 2011, De Brakke Grond, Amsterdam.

THIS PHOTO INSTALLATION HAS BEEN SHOWN AT HET NEDERLANDS FOTO MUSEUM IN 2010, DE BRAKKE GROND AMSTERDAM IN 2011 AND AT GALLERY JETTE RUDOLPH BERLIN IN 2012.

 

Check Double Check

2010 photo installation

5 inkjet prints on Hahnemüller fine art paper mounted on Melanine wood. 5 panels of 220-160 cm, 2 from 120-180 cm, 100-150 cm and 100-100 cm

THIS PHOTO INSTALLATION HAS BEEN SHOWN AT SPWTP&E IN ANTWERP IN 2010, AT MARTHOUSE GALLERY AMSTERDAM  IN 2011 AND AT GRID AMSTERDAM IN 2012

Anonymous postcard (Carved Thoughts) Anonymous Poster

2008-2009

Anonymous poster edition 1000 offset print 50-50 cm to take away for free

Anonymous postcard (Carved thoughts) edition 1000 offset print 10-15 cm to take away for free

Piles of postcards and posters installed on the floor in the space to take away for free.

This work was included in the group-exhibition: La 2.3333333ème Dimension at gallery 1m3 Lausanne, Switzerland

Nothing is true, everything is possible (Hasan bin Sabbah)

The 2.3333333è dimension presents the work of 12 artists from here and elsewhere. The works explore the space between the eye and the object they make reality through a filter, a prism. The dimension 2.3333333 plunges into the depth of an image potential, intellectual or formal. Navigate between the three dimensions of the physical world and the two dimensions of the image. The size 2.3333333è refers to the mental loop between the physical object and its perception, transcribed into a new object. The images and thoughts induce production strategies such as, deconstruction, flattening, crushing, swelling, vision, distortion, alteration, drunkenness, motionless voyage and reconstruction. The manufacture of images is often a purely analytical process but it also happens that part of synthetic practice after other media, transfer the schematic to come subtractive creation of photography (one part of the world and is removed, one frame). Here stands a number of issues that intersect like the beams of different light spectra which, mixing create new colors and intensities. When the pictorial and sculptural crosses the kinematics, perception and language become confused and reinvent themselves. The exhibition is offered to artists from different networks to which these issues in depth of the image, sliding fields and media, are particularly important. They all participate in their own way to expand the experimental research of the image and the gaps between the dimensions.

Text by Josef Hannibal

Untitled (I’ve taken too many photos / I’ve never taken a photo)

watch video

first edition (500)

210 x 280 mm newspaper on 52 gr. mended paper 112 pages full colour
420 x 594 mm double sited folded poster on blue back poster paper
signed and numbered 5 x 7 inch C print on Kodak Royal paper
together in transparent plastic folder

Initiative, concept, photographs: Anouk Kruithof
Concept, design: Christof Nüssli, Anouk Kruithof
Editing: Anouk Kruithof, Christof Nüssli
Text (poster): Paul Moakley
Text (conversation): Anouk Kruithof, Harrison Medina
Production: Anouk Kruithof
Publisher: Self-published (stresspress.biz)

English, 2014
ISBN 9789081708104

Untitled (I’ve taken too many photos/I’ve never taken a photo) is a new publication by Anouk Kruithof, which is an echo of the photo-ceiling + take away poster of the project with the same title, which was first exhibited during the Hyères Festival de Mode et du Photographie in France in 2012. Early 2012 Anouk Kruithof set out to find someone to help her edit her work—someone who had never taken a photograph in his or her life. She began by posting signs in her Bedford-Stuyvesant neighborhood in Brooklyn New York that read, “Did you never make a photo in your life.” The responses led her to a young man named Harrison Medina. The editing process began with 300 images out of Kruithof’s automagic archive, which Medina narrowed down to 75 and edited in three different sizes, which formed a spatial installation in the form of a photo-ceiling. Kruithof recorded the conversation during the selecting process, which is printed in this publication alongside 22 new photos.  The new photos Kruithof made by reframing the physical prints, which formed the installation as a reaction on the spectator’s analogue interactive behavior, while viewing the photo-ceiling with mirrors. End of April 2014 Kruithof met Harrison Medina again in Bedford-Stuyvesant and together, they signed and numbered the back of the prints, which you’ll find on the cover of this publication.

RUHE

Solo performance on September 29th 2012 at Autocenter Berlin documentation photos made by BentenClay 

documentation video on vimeo HERE

The 160-mtr2 empty white cube got slowly filled with audience over a duration of 2 hours. 18 performers, who are ordinary people selected through street casting and calls on amateur dance and theatre platforms, are invisible among the audience. People having their opening evening in this empty art space including chatting, networking with a glass in the hand. At 10 pm the performers received a collective text message with ‘ruhe’ after which they collapsed. The domino collective fall of the 18 performers caused total silence in the space. The performers stood up on their own chosen moment and the last performer came up after 35 minutes. The work RUHE got its existence by the empty art space, the instruction as in collective text message from Anouk Kruithof, the action of the performers and the reactions of the audience. People out of the audience reacted by trying to get the performers up again, giving them a beer or even started making out on the floor next to a performer. Lots of social interaction appeared. The confusion of the collective fall caused uncomfortable feelings within the audience. People were quiet and lightly shocked or laughed a bit. Soon after the fall, people collectively got their phones and camera’s out of their pockets and started making pictures of the performers, as if they were quiet human sculptures. “Shoot and post. Like or trash’.

Kruithof sees this performance more as a ‘constructed situation’ a term, which is introduced by Tino Seghal. RUHE conceptually foregrounds the role of networked technologies and people’s dependence on them, it is in many ways a tribute to direct experience for both performer and audience. People collectively immersing themselves in their networked mobile devices and RUHE sketches a poetic doom scenario of a hyper stress effect caused by the continuous stream of emails, text messages, push notifications. Documentation is from great importance. The documentation as in the photographic and video ‘material’ can be used in various ways after the performance, which also resonates important elements of networked technologies.

The fall is no end but a metaphor for failure, which is any way a new start.