Arnoud Holleman
Amsterdam, Thursday December 5, 2019
Tijdcapsuledag
Wat weten we nu waar we in 2013 nog geen weet van hadden? In 2014 werd de MH17 uit de lucht geschoten ... werd Rotterdam Centraal Station heropend. In 2015 werd het klimaatakkoord in Parijs ondertekend ... kwam de grote vluchtelingenstroom op gang ... dachten we dat Hillary de eerste vrouwelijke president zou worden. In 2016 stierf David Bowie ... kwam Trump aan de macht. In 2017 werd Feyenoord kampioen! ... ging #MeToo viral.
Nieuwkomer
For months after I first stood on that little bridge, I continued to circle around the windmills. Not only with my camera, but also with a microphone. When you look closer, the polder turns out to be an arena of conflicting interests. The cluttering of the landscape stands in opposition to climatological necessity; economic and ecological interests are locking horns for dominance; innovation oriented towards the future has to compete with the appreciation for history.
8th Gwangju Biennale
As an artist and writer, Arnoud Holleman’s extraordinarily diverse output is connected by a strong thematic concern with the life and significance of images. Often this concern is manifested through acts of appropriation that transform an image’s meaning through a shift in context, or a removal of contextual elements. This concern with the lives of images has also led him to create works that explore the historical prohibitions on image making.

Documentary / Printed matter / Exhibitions / Fiction / Photography / Sound / Iconoclasm / Internet / Research / Portrait / Public Space / Rodin / Collaboration / Sculpture / Sex / For Sale / Drawing / Text / Television / Theatre / Appropriation / Video /