Jeroen de Vries / recent work

Jeroen de Vries / documentatie

Jeroen de Vries / recent work

I make spatial installations in which I apply or present thework of other people, mostly photographers and film-makers.In my eyes this is a process not unlike that of making adocumentary film about someone or something.Photographer and filmmaker Johan van der Keuken saidit once like this: ‘Jeroen de Vries is totally autonomousand serving at the same time.’I listen to what a place has to tell and build my story onwhat I hear, often with very minimal means, working inarchitectural spaces created by the likes of HendrikBerlage and De Bazel, Gerrit Rietveld and Wim Quist,Bernard Tschumi and Jean Nouvel, Peter Eisenman, andBenthem/Crouwel.This presentation features recent work in places likeSchindlers factory in Cracow, a water-tower in Madrid,an harbour warehouse in Rotterdam, a complex with thegrave of Josip Broz Tito in Belgrade, a baroque 18thcentury courtroom in Porto, a 19th century wine-cellar inParis, a converted skating hall in Tourcoin, the onlysurviving 17th century building in Rotterdam and on thepremises of an modernist landmark tuberculosis hospital.Most recent is an installation of the work of Robert Capa,the oldest one is an installation of the work of EvaBesnyo. Capa and Besnyö, two major photographicinnovators, both of Hungarian Jewish descent, lived aschildren on the same street in Budapest and remainedfriends for life. Eva felt that framing her photos andhanging them as art on a wall went against the nature ofher work. For her the relationship between the place, thearchitecture and her images was crucial.The work I did with her in 1982 is my point of departure.That is why I have added it, together with Body and City(from 1998-2001), a project in collaboration with Johanvan der Keuken and The World of Koen Wessing (from2000-2001), two other key projects.

The installations shown here are the result of thecollective efforts of curators, builders, graphic designers,light designers, web designers, producers,photographers, film-makers etc.I am responsible for the architecture, sometimes (co)-curated them and sometimes took on some of the otherroles as well.

JdV


2009This is War / Robert CapaGerda Taro / retrospectiveNederlands Fotomuseum, Rotterdam

Exhibition put together by Cynthia Young /International Center of Photography / NewYork

intro textSpain, ChinaandHolland

transparant screen

ProjectionSpanish Earth

ProjectionThe 400 Million

title+intro text capa

title+intro text Taro


vitrinesbinnenmaat:300x40x3,8cm, 7 stuksbinnenmaat:300x50x3,8cm, 3 stuksbinnenmaat:100x40x3,8cm, 1 stuks

materiaal:4mm perspex18 en 10mm mdfvierkante stalen buis 40x40x2mm

vlak voor teksten over de volle breedtehoogte ±12 cm

Capa / the falling soldierThe Spanish Civil War, which broke out on July 19,1936, was an ultimately successful fascist insur-gence led by General Francisco Franco to over-throw the Spanish Republic’s democraticallyelected government. The passions that the Span-ish Civil War aroused in leftists all over the worldwas in part due to a belief that if fascism could becrushed in Spain, it might collapse everywhere,thereby averting the cataclysmic world war thatmany saw looming on the horizon.

In early August, Robert Capa and his companionGerda Taro rushed to Spain to cover the events.As partisans, they sided with the Republicancause. By early September, Capa and Taro had ar-rived in Cerro Muriano near Córdoba, where Re-publicans were mounting an offensive. There,twenty-two-year-old Capa would make one of hismost famous photographs, Death of a Loyalistmilitiaman, or commonly known as “The FallingSoldier.” The published image was an immediatesensation; it was the quintessential unknown Re-publican soldier of the Spanish Civil War. The pic-ture seemed to symbolize Republican Spain itself,charging forward to defend itself and being struckdown.

However, by the 1970s, some scholars beganquestioning the brilliantly composed image in partbecause of the lack of concrete information re-garding the soldier and Capa’s reticence to speakabout it. Was it staged? Did it really show a sol-dier at his actual death? Although there remainslittle hard evidence regarding what exactly hap- Robert Capa

Man leads refugees on donkeysfleeing Nationalist bombings, nearCerro Muriano, Córdoba front,Spain, September 5, 1936

..................................................

...............................

.........................................................

Robert Capa


..................................................

...............................

.........................................................

Robert Capa


..................................................

...............................

.........................................................

Robert Capa


..................................................

...............................

.........................................................

Robert Capa


..................................................

...............................

.........................................................

Robert Capa


..................................................

...............................

.........................................................

Robert Capa


..................................................

...............................

.........................................................

Robert Capa


..................................................

...............................

.........................................................

Robert Capa


..................................................

...............................

.........................................................

The Falling Soldier was used in this graphic book cover forDeath in the Making, Capa’s tribute to the suffering andsacrifice of the Spanish people while fighting for their freedom.The photographs are by Capa and Gerda Taro, who died therewhile photographing in July 1937. Inexplicably, The FallingSoldier only appeared on the book jacket and not in thebook’s interior. Over the years many copies of the book havelost their dust jackets, making it appear that Capa did not eveninclude his most famous image of the war, and leading somecritics to question the veracity of The Falling Soldier.







1982Eva Besnyö, een halve eeuw werk

Plaats: Amsterdams Historisch Museum, Gemeentemuseum

Arnhem en in Boedapest.

Samenstelling: Carry van Lakerveld, Eva Besnyö en Jeroen

de Vries.

De tentoonstelling vormde het eerste groteoverzicht van het werk van fotografe EvaBesnyö. De foto’s waren zonder passe-partoutgegroepeerd op panelen van 120x120 cm., dieverticaal of onder een hoek stonden opgesteld.In de tentoonstelling draaide een documentaireover Besnyö, gemaakt door Hedda van Gennepen Carry van Lakerveld.

1-4 Beelden van de tentoonstelling in het Amsterdams

Historisch Museum


plan of the exhibition

2009The Tito EffectCharisma as polital legitimacy

Exhibition in the Museum of 25 may in Belgradeabout the period of the second Yugoslavia andthe attitude to Josip Broz as the figure whopersonified this period.

The first part of the exhibition is dedicated to theimage of Tito, an obligatory part of the interiorsof public spaces.

Presented in the second section of the exhibitionis the ritual celebration of May 25, beginningwith the months of carrying a baton in relays andvarious performances and celebrations across thecountry,

Gifts, the material relics of the presentation ofgifts to Tito, make up the third section of theexhibition.


2009 / The Tito Effect









2008Go-No Go / Ad van DenderenLes Voutes / Paris

A project about he European struggle withimmigration in photographic projections.It has been presented in different forms onseveral European locations.The exhibition consists of three main elements:

1. A presentation of the photos in digitalprojections on large screens.

2. The presentation on monitors of a series ofinterviews with immigrants conducted andfilmed by Marjoleine Boonstra.

3. A website with facts, opinions, interviews,maps and the photos from the exhibition.



2008 / Go-No Go / Ad van Denderen

2007Hidden Images / captured fromhome moviesCentre National de l’Audiovisuel / Luxembourg

Installation combining movies and prints.A play with time and space.




2007 / Hidden Images





2008In History / Susan MeiselasInternational Center of Photography / New York

Meiselas's work evolved in radical andchallenging ways as she grappled withquestions about her relationship to her subjects,the use and circulation of her images, and therelationship of images to history and memory.An installation combining prints, projections,film, documents, websites, books etc.




2008 / In History


2008 / In History



2008In History / Susan MeiselasInternational Center of Photography / New York

Kurdistan projection / in collaboration withSusan Meiselas

Meiselas travelled the world with an exhibitionshe put together named Kurdistan, in theShadow of History. Instead of resurrecting it aspart of an exhibition on her work, I proposed toclarify Meiselas motives and methods with aninstallation of vitrines in combination with amulti-screen projection.


2008 / In History

2007Port Images / group exhibitionLP2 / Rotterdam

An exhibition on the harbour of Rotterdam inan old warehouse building.Multimedia installation with documents,prints and film projections




2009 / /Port images


2009 / /Port images


2009 / /Port images

2007Inspiration Rotterdam /Group exhibitionRotterdam Historical Museum

Prints and projections in the attic of a17th century building.I used the wooden construction as a gridfor the panels.




2007 / Inspiration Rotterdam





200860 Years Magnum / group exhibitionStedelijk Museum / Post CS Amsterdam

Spatial design for an exhibition created byMagnum

A 45-metre-long frieze offering a linear accountof MAGNUM’s over the last six decades withtexts, key images and original books.Four interactively controlled projection screenswhich enable visitors to (re)discover the work ofall the MAGNUM photographers.




2008 / 60 Years Magnum



2008 / 60 Years Magnum

2009New York Perspectives / Group exhibitionStadsarchief Amsterdam

In the central hall of the Bazels building I createda steel frame for the presentation of largeimages.The goal was to find ou if the entry hallcould be use as an exhibition space together withthe existing gallery.In this gallery I created walls covering thecolumns.


A B

introtekstover de

fotografencolofon

logo’s etcover defotos

tafel met boeken,hand out etc

A BA BA BANYperspectives

BD CD CD CD CD C



2009 / New York Perspectives








2008>Play - a photographic record /Carel van Hees2008 / Kunsthalle Ludwigshaven

>Play is about what it is like to be young,anywhere and in all eras. The Rotterdamphotographer Carel van Hees turned hiscamera on the youth of Rotterdam.Digital projections, website, film and asoundtrack.




2008/ >Play - a photographic record / Carel van Hees


2001>Play - a photographic record /Carel van HeesLas Palmas Rotterdam

Theme: youth culture in RotterdamConcept and production: Bas Vroege (Paradox)Programming audio-visuals: Gerald van derKaap

The large size of the space was a challenge.How could one draw visitors into the space andinto the work of Carel van Hees?I used the constructive grid of the building, anold warehouse, in which the supportive columnsare very present. They were to carry theprojectors. 'Look through-screens' as large asthe projectors would tolerate were positioneddiagonally in the space. From a plan the logicand the simplicity of the set-up was clear; insidethe installation the result was quiteoverwhelming. Visitors would bring foldingchairs into the space, finding their own point ofview and creating their own theatre.



2001/ >Play - a photographic record / Carel van Hees

2008The last days of shismaref / DanaLixenberg / Melle van EssenLP2 / Rotterdam

The photographs of Dana Lixenberg and thecamerawork of Melle van Essen are mountedtogether in space, separated by a half transpa-rent screen. Installation includes a soundtrack,an extensive website, projected animated maps,a timeline, newsfeeds and a large number ofmonitors with news and interviews.




2008 / The last days of shismaref






1. Steel frame suspended from the ceiling, covered with black fabric2. Digital projector3. Screen4. Benches5. Touch screens with database of over a thousand photos

2003 / Colour / Black and White / 1000 photos of Amsterdam

1

2

2

34

5

5


2003Colour / Black and White1000 photos of Amsterdam

Place:Amsterdam Historical MuseumDe tentoonstelling is een samenwerkingsproject van hetGemeentearchief en het Amsterdams Historisch Museum, enwordt samengesteld door Anneke van Veen (Gemeentearchief),Wim de Bell (Historisch Museum) en Jeroen de Vries (freelancetentoonstellingsmaker en ontwerper).

1- one of the projection units suspended from the ceiling



Een belangrijk deel van de tentoonstellingbestaan uit twee installaties (op elke verdiepingéén), waarmee series worden geprojecteerd. Degeprojecteerde series zijn chronologisch of opthema zijn geordend. Aan een zestal schrijversen columnisten schreven naar aanleiding vaneen serie een kort essay of een column endroegen deze bij de projectie voor.Een derde onderdeel van de tentoonstelling isde digitale fotobank. Het idee van de fotoserieals vertelling wordt voortgezet in een speciaalvoor dit project samengestelde databank, waar-in ca. 125 series zijn verzameld. (ca. 1000foto's). Alle series die in de tentoonstellinggetoond worden, in projectie en in druk, zijn indeze fotobank terug te vinden, aangevuld metvele tientallen series uit de collectie die andersin depot zouden achterblijven. Binnen iedereserie is overigens ook weer een strenge keuzegemaakt. Met behulp van dit programma kun-nen persoonlijke keuzes worden gemaakt enkunnen series uit verschillende perioden naastelkaar worden bekeken en vergeleken. Er kangezocht worden op thema en op periode eniedere serie kan als een klein dia-programmaworden opgeroepen en bekeken. De series zijnvoorzien van een korte toelichting. Soms zalworden geciteerd uit de oorspronkelijke aan-vraag, hetgeen een indruk geeft van de motie-ven die de fotograaf had toen hij aan deopdracht begon.In de tentoonstelling worden ongeveer 250 ori-ginele drukken getoond, verdeeld over tweeverdiepingen en de tussenverdieping van hettentoonstellingsgebouw.



Place:Amsterdam Historical Museum

De tentoonstelling is een samenwerkingsproject van het

Gemeentearchief en het Amsterdams Historisch Museum, en

wordt samengesteld door Anneke van Veen

(Gemeentearchief), Wim de Bell (Historisch Museum) en

Jeroen de Vries (freelance tentoonstellingsmaker en ontwer-

per).

Sinds 1971 verstrekt de Stichting AmsterdamsFonds voor de Kunst jaarlijks documentairefoto-opdrachten. Bovendien heeft het AFK in dejaren 1978-1988 nog eens 28 'historische' of'archiefopdrachten' verleend. Inmiddels bestaatde collectie uit zo'n 185 series.

De samenstellers hebben voor dit project alleopdrachten bekeken. Vervolgens is een conceptbedacht dat niet uitgaat van de individuelefoto's, maar van series. Er zijn ongeveer 250originele drukken tentoongesteld, er zal eendigitale fotobank worden samengesteld.


2004Zonnestraal,the story of a building

Theme: exhibition regarding a landmarkmodernist building of the 1930s

Assembled by: Ton IdsingaProduction: Kunst en Kultuur Noordholland

Zonnestraal is a former sanatorium, built in1931 by the diamond workers' union, designedby the architect Jan Duiker.The largest part of the exhibition was construc-ted in the open air and positioned so that thenewly restored main building of the sanatoriumwas constantly in sight. Thus the building for-med the main exhibit. Another part of the exhi-bition was in a small structure built to housepart of the staff of the sanatorium. I mountedthin steel tubes between the ceiling and floor,and between each two tubes hung a largesheet of paper on which a photo or a drawingwith text was printed. The sheet of paper weremounted with rubber straps.The central living area of the little building wasused for an audiovisual presentation in whichwe combined historical film material andsoundtracks, photos and drawings with a spo-ken commentary by Ton Idsinga.


2004Zonnestraal,the story of a building

2004 / Zonnestraal, the story of a building



2004 / Zonnestraal, the story of a building


2007Why Mister, Why? / Geert van KesterenSchindlers factory / Cracow / Poland

Images of the war in Iraq and texts projectedon very large screens, RSS news-feeds,soundtrack, and website integrated in theinstallation.Has been presented in the NFM in 2005



2007 / Why Mister, Why? / Geert van Kesteren / Schindlers factory



2007 / Why Mister, Why? / Geert van Kesteren / Schindlers factory


2006Meagre / Geert van KesterenHuis Marseille Amsterdam

A travelling exhibition on poverty.Photos mounted with rubber bands


Jeroen de Vries / documentation

2000The World ofKoen Wessing

Theme: Retrospective exhibition of Koen Wessing

Assembled by Jeroen de Vries and Koen Wessing

Production: Amsterdam Historical Museum, 2000

Also presented in the CPF, the Portuguese Centre for

Photography, Porto, 2001

Some 100 prints on large sheets of paper were hanging

freely in the space. Ten projection screens, mounted in a cir-

cle, showed the photos as documentaries and enlarged

details.

The exhibition demonstrated the sheer power and range of

photography, from visual poetry to historical document, from

propaganda to document humain.

Model and drawing of the projections


2000 / The world of Koen Wessing / prints and projections


2000 / The world of Koen Wessing


2000 / The world of Koen Wessing / prints and projections



2001 The world of Koen Wessing

Porto, Cpf, Portugees Centrum voor Fotografie, 2001


1998 -2001Body and City

Johan van der Keuken

in collaboration with Jeroen de Vries

Comments by Jeroen de VriesThe collaboration between Johan van derKeuken and me dates back to 1993, whenI was asked as guest curator to make a retro-spective exhibition of his photographic work atthe Amsterdam Historical Museum.In an effort to address the relationship betweenVan der Keuken’s photographic and cinemato-graphic work, I placed a film cabin at the heartof the exhibition. Outside the cabin I mountedan installation showing a sequence of the filmEye Above the Well on a large monitor. Aroundthe monitor were smaller screens showing theconstituent shots of the sequence.

I share Van der Keuken’s awareness of the needto challenge the rigid linear time axis of a film,the rigid position of the viewer vis á vis thescreen and the rigid way photography is oftenpresented and applied. In Body and City, weexplore the space between photography andfilm in the architectural environment.

All the presentations of this project combine toform a complex and rich installation. I havechosen not to manipulate Van der Keuken’simages. Inside their frames they remain untou-ched, but mounted in space, they have relativeautonomy. There they are incorporated into alarger whole. The India installation at theAmsterdam Historical Museum was mounted ona flat surface and dealt with the linear notion oftime. Dealing with space as we do in this instal-lation, we are dealing with the unforeseen, theunlinear, with chance.

1. Poster of Body & City on

the front of De Balie.

2. Cross-section of De Balie.

3. Plan ground floor.

4. Plan first floor.


1998Body and City



Comments by Jeroen de Vries, continued

In his recent photography, Johan van derKeuken exposes the same film several times inthe camera, voluntarily abandoning his lifelongcontrol over the image. Making films, he takesother risks, lives the life of an adventurer, goingoff to war zones and isolated parts of the world.In his home town Amsterdam, he seems tomove around in circles with his film camera, asif touching the erogenous zones of a familiarbody. And then in the darkroom or at the edi-ting table, nothing is left to chance. ThereJohan van der Keuken regains control over hislife and his work, mastering his material.In Amsterdam Global Village, unsimultaneousand unrelated events seem to be occurring atthe same time and as part of the same story.He creates a Joycian unity of time and space.A global village.

I did not mount the images one after the otherlike in a film, nor did I mount them on flat wallslike at a gallery. Everything can be viewed atvirtually the same time and in the same space,printed on photographic paper or moving ondozens of screens as free and transparent ele-ments in the architectural environment. The vie-wer moves around, ascends and descendsstairs, seems to be in control of time andspace, of body and city as they are presented.As Johan van der Keuken once stated in anot-her context, the whole constellation is chanceprovoked by us.

1. Screen with film projections above the bar of De Balie.

2,3. A large ellipsoid table is mounted between the steel

struts of the Central Body,

film images are projected on it.

4. New York series with film images


1998Body and City



Introduction by Johan van der Keuken:This project grew from my pondering the inter-action between photography and film andwhere the two can viably coincide. I have beenactive for a good two decades in the borderarea between them, and have tried out anynumber of ways to link two or more photo-graphs outside the ordinary chronologicalsequence. There are associations and contrastspertaining to content, story, framework, compo-sition, texture, colour, tone, movement andlight.

The expositions/installations are designed byJeroen de Vries, who I did an exhibition withcalled Johan van der Keuken, photographerand film-maker at the Amsterdam HistoricalMuseum in 1993. Jeroen de Vries has been theman behind a variety of innovative shows. Onelarge recent project was HereWhen/Amsterdam in the Last Year of the War.

The collaboration between the photograp-her/film-maker and the designer plays a centralrole in the entire project.The idea is to use image, projection, soundand visual instruments to create individual anddistinct worlds and atmospheres.

JvdK.

The installation in De Balie in Amsterdam

1. Projection on the Central Body.

2. Part of the Sarajevo installation.

3. Nudes, Seeing and Not Seeing.

4. New York


1998Body and City

A nine-metre high 'body' occupies a central position inJeroen de Vries’ design.The installation consists of a nine-metre high transparentbody that images are projected from and onto.A steel frame is covered with pieces of screening like anenormous hauberk. The screening is light, you can seethrough it and it has a metallic sheen. The images pro-jected onto it appear like quick pictures the viewer cansee through to other pictures, other spaces.Like satellites, projection screens of various sizes protrudefrom the structure. The colossus leaves the floor free, andin between the legs it is standing on, there is a largeellipse-shaped table. Film images are also projected ontothe table. Johan van der Keuken’s photographic and filmprojections.

The installation in Le Fresnoy, Studio National des Arts Contemporains.


1998Body and City

The Central Body in Le Fresnoy, Studio National des Arts Contemporains.


1998Body and City

Artforum, January 1999The core component, “decentralized” toLe Fresnoy art school in Tourcoing, was intitledthe Central Body, a 27 foot high semi-transpa-rant structure (sculpture? billboard? moviescreen?) on which (and from which) are projec-ted slides and film clips - a sort of audiovisualenactment of the global village: Sniper fire fromSarajewo can be heard behind burnt out buil-dings in New York’s Lower East Side; skaters onAmsterdam’s frozen canals are just a blink awayfrom the sex shops in the red light district. Vander Keuken recalled with satisfaction that inAmsterdam, were the piece was originallyinstalled, visitors to the space could not onlyroam around the images and sounds, but sipcoffee and read newspapers on the structures’stablelike base. On a smaller scale the satelliteinstallations of “Body and City”were presentedin four separate venues in Paris, combinedphoto friezes, wall collages, and photogramswith films and tape loops to evoke, amongother things, street life (or death) in Amsterdam,La Paz, New York, and Sarajewo.Like The Central Body, these mini-environmentscombining still and moving images were inten-ded -as the title “Body and City” also implies-to draw visitors into and out of the exhibitionspace, to transform spectators into active parti-cipants, and, ultimately, to recall the violenceand chaos of “what’s happening on the street”.

Miriam Rosen

The Central Body in Le Fresnoy,

Studio National des Arts Contemporains.


1998Body and City

Sarajewo / November 1993-

November 1996

in the Maison Européenne de la Photographie


1998Body and City

Centre de Cultura Contemporénia de Barcelona (CCCB) 1999


2001Body and City

Wexner Center for the Arts, Columbus Ohio, 2001

Body and City / documentation

Why Hang a Photo on a Wall?Ineke Schwartz

Designer Jeroen de Vries has departed from the two-dimensional approach to exhibition before, but never onthe grand scale of the Body and City project nowshowing in Amsterdam’s De Balie. Visitors literally wan-der through the many layers of the work of photographerand filmmaker Johan van der Keuken.

Amsterdam cultural and political centre De Balie hasbeen through plenty of renovations over the years. It hasbeen home to numerous installations, video walls, spe-cial sets and ‘environments’. But nothing in the past canmatch Body and City, a new project by Johan van derKeuken and Jeroen de Vries.

The entire building has been reconstructed as a multime-dia environment. Visitors are surrounded by images:enormous black-and-white and colour photographs hangeverywhere and short film loops are constantly beingshown. Extending from ground level to the first floor, agigantic installation covered with fine silvery gauze actsas screen, conduit and reflector for projections. Its tenta-cles reach out in all directions to provide yet morescreens. Visitors walk through layers of images from NewYork, Sarajevo, La Paz, Mysore and Amsterdam.

This is the biggest project yet for Jeroen de Vries, whoconceived the installation. ‘I’ve been mounting photo-graphy exhibitions since 1980, and always as three-dimensional installations. I had used the idea of linkingfilm and photography before, in 1993, for an earlierproject with Johan. But I’d never done it on this scale.’

De Vries prefers to avoid the beaten path. The exhibitionWhen here..., about the famine in the Netherlands in thelast winter of World War II, which he made for theAmsterdam Historical Museum several years ago, wasshown in winter and was largely outdoors so that thevisitors, approximately 150 thousand of them, couldexperience the cold at first hand. He also projected CasOorthuys’s World War II photos onto the Dam.

This approach comes naturally to De Vries. ‘Why hangphotos on walls, clamped lifelessly behind mats? Oftenthat’s not the best way to convey the content. Every pho-tographer, every subject and every project requires its

own presentation. I always try to tell a story in threedimensions. My father was an architect, a pupil ofNiegeman, so I grew up in a modernist tradition. Therewas nothing unusual about investigating possibilities forthe three-dimensional presentation of photography. Thinkof the rooms of El Lissitsky. I just kept on pursuing thatinvestigation after other exhibition makers stopped.’

That’s what makes the collaboration with Van derKeuken so perfect. ‘Johan doesn’t have rigid preconcep-tions. As soon as he’s mastered something, he startsexperimenting. More than other creators of images, he’sfascinated by the tensions between architecture, photo-graphy and film, just like me. We also share a desire toquestion the linear character of film and the viewer’sposition with regard to the screen.’

This kind of intensive collaboration between artist anddesigner is rare. Usually the artist and his ideas aresacrosanct and the exhibition designer is limited to deter-mining partitions, lighting and colours. De Vries is muchmore rigorous. His presentation imposes itself on thework of the photographer.

‘I don’t see myself as an independent visual artist, butneither am I fully subservient,’ he says. ‘My work swingsbetween the two extremes. I have a lot to say about whatthe artist does. After De Balie invited him, Johan came tosee me with a text explaining his ideas about this project.I understood what he meant and set to work with mate-rials and models. The themes he put forward are stillthere, but a lot more has been added. Together we pro-duced something neither of us had expected.

‘Johan once said, “Jeroen serves and is also autono-mous. He does what he wants to and makes his ownwork, but he also serves what heís exhibiting,” says DeVries. ‘Body & City is about people in big cities of cour-se, but it is also a play of layers. The underlying themesare skin, surface and transparency. You literally walkbetween the layers of images. That works nicely with Vander Keuken’s multiple exposures.’

It’s about looking at familiar things anew. Like touchinga lover: itís familiar, but your touch is still exploratory.

Ineke Schwartz

Date post:	06-Mar-2016
Category:	Documents
Upload:	jeroen-de-vries
View:	220 times
Download:	2 times

Jeroen de Vries / recent work

Documents