Arnoud Holleman
Amsterdam, Monday May 29, 2017
Homage
Since 2008 there has been a lively dialogue in the museum between old masters and present-day artists. Arnoud Holleman (Haarlem, 1964) is taking this a step further. He made a film in the Schutterszaal in which ‘watching’ is key. Frans Hals’s world-famous civic guard works and a selection of sculptures by Mari Andriessen, Han Wezelaar, Charlotte van Pallandt and others create the background for a cast of eighteen actors.
Radio Balzac
De Balzac van Auguste Rodin staat vanaf 1 februari in Het Oog in het van Abbemuseum, als special guest in een installatie van Arnoud Holleman. In deze tijdelijke opstelling draait het beeld langzaam rond. Bezoekers kunnen het beeld van alle kanten bekijken en de 19e eeuwse schrijver kijkt ondertussen rond, naar onze tijd. Via een online radiozender – Radio Balzac – worden meningen, discussies en andere inzichten over het beeld verzameld en uitgezonden.
Klein Holleman
Website voor tekeningen, fotografie en collages. Met de verkoop financier ik mijn langlopend onderzoek naar wat de kunstenaar van nu (nog) vermag. Het mythisch kunstenaarschap van Auguste Rodin dient als historische referentie voor onze eigen tijd. Tekenen is een van de weinige skills die nog onlosmakelijk met het kunstenaarschap verbonden zijn en de kunst een gemeenschappelijke taal geven. Prijzen vanaf 100 euro.
Provisional Space
ROMA Publications presents: Provisional Space - Nickel van Duijvenboden, Kees Goudzwaard, Arnoud Holleman, Rob Johannesma, Irene Kopelman, Jan Kempenaers, Mark Manders, Batia Suter, and Roger Willems. Curated by Mark Manders and Roger Willems. February 11 - April 7, 2012. Opening reception, Saturday, February 11th, from 6pm to 10pm, with a talk by Arnoud Holleman at 8pm. Castillo/Corrales, 80 rue Julien Lacroix, 75020 Paris.
Me and Jan Hoving
Inventarisnummer BK53086 - BK53115. Serie van 30 potloodtekeningen. Begin 1 juni 1976, einde 30 juni 1976. Kunstenaar: Jan Hoving. Titel: Zonder titel. Beschrijving: Vierkant met potloodarcering, met begin- en eindtijdnotering. Materiaal: potlood, papier. Hoogte: 54,8. Breedte: 54,8. Staat: redelijk. Organisatie: Instituut Collectie Nederland. Rubriek: Beeldende kunst. Dit werk wordt afgestoten door Instituut Collectie Nederland.
Recto / Verso
Interview covergirl Lauren Hutton was photographed by Francesco Scavullo in 1973. She's wearing Galanos - from his exciting fall 1973 collection. Accessorized by Galanos, makeup by Way Bandy, hair by Rick Gilette. The photo was re-photographed by Anuschka Blommers and Niels Schumm in 2003, with model Uta Eichhorn posing as Re-Magazine covergirl Claudia. She's wearing a black dress by Hermès. Styling by Katja Rahlwes, makeup by Renata Mandic.
Media Suicide
De 38-jarige Karst T. uit Huissen reed even voor het middaguur in op toeschouwers in een bewuste actie de koninklijke familie te raken. De man raakte zelf ernstig gewond en verkeerde gisteravond in levensgevaar. De man ontweek op de Jachtlaan in Apeldoorn twee afzettingen en reed met zijn zwarte Suzuki Swift in op de menigte. De koninklijke familie zag vanaf een paar meter afstand hoe de man tegen monument De Naald botste.
Call me
It’s either filthy thoughts or intellectual blah-blah, and nothing in between. Look closer. More closer. Look at me! You hear me?! If there’s any reason for me to be ashamed, it’s you. The only reason I’m standing in front of the town hall is because I happened to have been ‘created’ by a world-famous sculptor: Rodin, the genius of deep emotions and existential gestures. Yeah right. The way I’m standing here, Rodin is the only person who’s never once laid a finger on me.
Me and Paolo
Masked newspaper spread. Photo shows Italian soccer player Paolo de Canio, saluting his fans in nazi-style while celebrating the victory for SS Lazio over AS Roma in january 2005. Text at bottom centre: I just wanted to celebrate with my fans. A photographer using a camera that takes 500 frames a minute just caught this moment in the celebration and made it look as if I held my right hand in that position.
My Dad Playing Piano
The closet in his study kept the usual mix of essential and trivial: drawings from high school, student paraphernalia and tons of paper work from his job as a teacher. In an old shoebox we found a microphone and some old music cassettes. When he had retired, eight years before his death, he had picked up playing the piano again. He had taken lessons again and had studied every day. Sometimes he would make a recording of the pieces that he played, as a reality check.
On ne touche pas
One image is not the same as the other and there are also images that know their place: images that not only form a world in themselves but also refer to a more complex reality beyond themselves. And this is what I would like to focus on in this lecture, with the help of my film Museum, dating from 1998. For me, reflection on earlier works is not meant to dwell in the past. It is meant to stimulate preciseness and to develop internal coherence.
Museum
Museum (1998) is a re-mastered, projected version of a 1980s video by French gay porn director J. P. Cadinot. After Holleman cut out all the sex scenes, all that is left are young boys in hot pants and uniforms wandering aimlessly through a cheap film set of rooms in a nondescript museum. The eclectic art collection functions merely as a prop, but since there is no apparent action either, it’s not clear what the props are for.
Herman Heijermans
I’ve always thought of photography as something very magical and it is my belief that this is based on a genuine experience: in my early childhood there must have been no sharp distinction between a real thing and its image. In the same way that kids see themselves as inseparable from their mother until the age of three, I thought that object and image were simply two different manifestations of the same energy.
Me and Larry Clark
Holleman looped the legendary shot of one the protagonists relieving himself after a night of steady drinking, emptying a last can of beer while doing so. After a while the calm splashing becomes reminiscent of a Zen fountain rather than a toilet, forming the audio backdrop to the show. Holleman filmed this fragment with a video camera in a cinema, in an exploration of appropriation, as well as of the status of the original images. (Willem de Rooij in Frieze magazine)
Marcel
Ladies and gentlemen, this is your captain speaking, earth has disappeared. As we will not be able to crash, we will continue flying until we run out of fuel. Well so do something about it you’ve been wining about it for years. Well. Halfway. Everything’s fine. Stay calm. Come on guys what’s the big idea? You know, these days when somebody on the street says ‘sorry’ it’s a junky. You see you don’t get it. You’re just a character in someone elses plot.
Onkenhout
Staring at the picture of the garden on the postcard I catch a glimpse of my mother in a version of her life that she never lived, one in which Nico had gotten in touch, after that evening out. Perhaps now she’d have a different surname and be sitting by a different fire drinking wine with a different child. In a moment that feels like an oedipal short circuit, I experience something impossible: that I never existed.
Retitled
For the last couple of years in a row, artists had been invited who felt at home in a big show environment. This had thrown up a number of lively and playful installations, but this year the budding tradition was in jeopardy: for a variety of reasons there was next to no money for art projects. The only kitty in the budget that might be called upon had been set aside for the printing of the half a million paper napkins that were to be used during the festival.
Untitled (Staphorst)
In this mediation between being and non-being we can do nothing else than continually behave as camera-genic as possible. See and be seen via the image has become a cultural and existential duty. This primacy of image and visibility however is no universal, natural condition: Islam’s interdict on images originally, according to the second commandment, also applied to Christendom.
Hester
In the drawing, she has her head down because she was reading. She’s spent most of her life reading, its her way out of her depression. I remember being quite conscious of drawing her double chin, since she hates it. My mother hates the fact that she’s losing her jawbone. I thought, ‘No, I’ve got to scrub it out.’ So I drew a shadow there. But these dark areas, the chin and the bags, emphasize her depression more than they show her reading a book.
Life is a Dream Come True
In most of my dreams there are no images or storylines to assign to their nightmarish feeling. They are more about certain dynamics, of shrinking and growing, for example, or being crushed. My body caving in on itself. As a depressed person I live inside my head and there’s always a sense that my body is deteriorating and weak. So feelings of weakness and lightheadedness come to me naturally. There’s a vacancy in me that is connected to my dreams.
Verzameling Verzamelingen
De burgemeester had met de mooie stukken uit de collectie van de Van Sytzamastichting zijn kamer ingericht, maar de rest van het cultuurgoed voerde een verloren strijd tegen het dagelijks leven. Stenen beelden stonden zonder sokkel op de gang en werden gebruikt om de deuren open te houden. 18e-eeuwse miniatuurtjes hingen op een paar verloren spijkers naast een groepsfoto van de brandweer.