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)


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.


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.

Wall of Fading Memory

2012 Spatial Installation

100 assemblages of photopaper (photos from Kruithof's archive) foamboard / nylon thread and swr

900 by 300 cm

Part of the soloshow Fragmented Entity at gallery Boetzelaer - Nispen London.

'Wall of fading memory' is an assemblage of cut outs to create a 'wall' of pieces of pieces of old photographs diagonally stretching from one side of the gallery space to the other. Despite the monumental connotations of the artwork's title, this wall of prints is floating in mid-air and is permeated by empty spaces. Within this huge montage, these recesses can be analyzed in a number of ways; they could be seen as metaphoric holes in a memory. In trying to find an order within a potentially overwhelming amount of visual information, Kruithof assembled the prints according to colour thus somewhat recreating the spectrum of the rainbow that metaphorically stretches through the width of the gallery space. Here, again like in her previous work 'the daily exhaustion' she deconstructs and then reassembles visual informationinto a colour gradient.

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Fragmented Entity


Fragmented Entity was shown as a solo show on Art Rotterdam in 2011 with galerie Adler, Frankfurt and with this group of works Kruithof was nominated for the ILLY art award

and won the ILLY public price. In 2012 a soloshow in gallery Boetzelaer I Nispen in London took place includingthe new additional spatial installation 'Wall of fading memory'

Comprehensive group of works: photo, -video and spatial installations, take away posters, collages, shredded photoprints, photographs.

The source for this eclectic body of work is her archive of C type handmade prints that Kruithof has collected since she began working as a photo-artist. Between 2008 and 2011 she has been using these old photo prints by cutting out the narrative of the images and mostly dissected them into abstract pieces of coloured photo paper.Kruithof transferred those pieces of paper across different surfaces and spaces in the form of minimal installations, photo sculptures, posters and collages. The artwork with the title 'Never ending pile of a past', which in its original condition consists of 10.000 colour copies, neatly stacked upon each other, which, in turn, depict a stack of photographic prints photographed from the side. This piece, much like Kruithof's body of work as a whole, is deeply self-referential, ironic, even dryly humorous: a stack of copies depicting a photograph of a stack of photographs. With this work, Kruithof is allowing the viewer to become the collector and take a print away and challenges the notion of the

photograph as unique and treasured artefact. With Fragmented Entity Kruithof continues to establish herself as a provocatrice who challenges the viewer, the medium photography, and even the very format in which photography is consumed.

(Sources for this text are the words of Marco Bohr and Nicola Bozzi)

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