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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.