Arnoud Holleman
Amsterdam, Sunday August 19, 2018
Polaroid
Polaroid photo of the former Polaroid factory in Enschede. I photographed the logo in 2001 as research for 'Wij', an exhibition at Kunstvereniging Diepenheim investigating the cultural identity of the Twente region. The factory closed in 2008 and the text sign has been removed in 2009. Polaroid is an edition of 20, still for sale on frenhofer.nl.
Another Erased Drawing
Drawing / Tekening. Mei / May 2018. Potlood, pastelkrijt en gum / Pencil, soft pastel and eraser. 83 x 57 cm. Referenties / references: Willem de Kooning / Robert Rauschenberg. Gesigneerd / Signed op de achterkant / on the back.Te koop / For Sale. Prijs op aanvraag / Price on request.
Discharged From State Collection
Drawing + polaroid / Tekening + polaroid. April / April 2018. Potlood, pastelkrijt en gum / Pencil, soft pastel and eraser. Maat / Size 83 x 57 cm. Referentie: / reference: opheffing / abolition of BKR. Gesigneerd / Signed op de achterkant / on the back.Te koop / For Sale. Prijs op aanvraag / Price on request. info@arnoudholleman.nl
Unqualified
Drawing / Tekening. April / April 2018. Potlood, pastelkrijt en gum / Pencil, soft pastel and eraser. Maat ong. / Size app. 83 x 57 cm. Gesigneerd / Signed op de achterkant / on the back.Te koop / For Sale. Prijs op aanvraag / Price on request.
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.
Frenhofer
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Frenhofer's studio darlings come on cardboard with fixed ratio.
This piece is 228 x 210 mm.
Stamped and signed Arnoud Frenhofer Holleman on the back.
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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
Double sided collage, 2009. Folded magazine spreads, originating from 1973 (Andy Warhol's Interview) and 2003 (Re-Magazine). The photo was re-photographed by Anuschka Blommers and Niels Schumm in 2003, with model Uta, posing as Re-Magazine covergirl Claudia. For sale, send e-mail to info@arnoudholleman.nl
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.
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.
Family and friends
Seven drawings of penises in various forms and sizes. Black pencil on 9" x 11" sheets of paper. First published in Butt magazine # 4, summer 2002 and later in Butt book - adventures in 21st century gay subculture, 2006. Based on dating site profile pics, named 'Dieter', 'Bram', 'Henk', 'Andrew', 'Harry', 'Erik', 'Martin' and 'Edward'. The drawings are framed in individual frames and for sale as a group. Price on request.
Tekeningen 1995 - 1997
Met een zweepje onder z'n oksels geklemd 'berijdt' een naakte man een op z'n kop staand paard. Terwijl hij met z'n anus over de paardenlul glijdt, perst een eveneens naakte vrouw zich met moeite in het poepgat van het rijdier. Om haar daad kracht bij te zetten, duwt ze met haar hand tegen een denkbeeldige muur - een muur die tevens de kadrering vormt van het op papier getekende seksspelletje. (Nathalie Faber - Het Parool 3-2-1998)
Clanice
Serie van zes tekeningen, uit 1996, gebaseerd op QLB-meditaties die we (semi-serieus) deden bij theatergroep Mugmetdegoudentand. Met hulp van een pendel stel je vragen aan je inner child om een situatie in het heden beter te kunnen begrijpen. In een van de meditaties kwam ik in een vorig leven terecht waar ik als meisje Clanice heette. Nog te koop, stuur e-mail naar info@arnoudholleman.nl
Solipsistic Sky
He ejaculated on the paper, outlining the blobs with watercolour crayon. Once it had all dried, he made everything around these constellations black with pencil. The drawing then became a window looking out towards a cosmos-like world, full of nothingness. This blackening process was a monotonous task, which allowed him to withdraw happily into the right side of the brain, where timelessness rules.
Auntie Truus and Auntie Mok
With utmost concentration I tried to capture the atmosphere in the photos as closely as possible, but again and again I would screw up somewhere halfway. Either the balance in shading wasn’t right, or I couldn’t get the expressions right on their faces. When I finally managed to give Auntie Truus the right expression, I reached the point where I had a physical sensation of being on that lawn on Texel again on that day in 1969, asking Auntie Truus and Auntie Mok to pose for me. At that very moment, reality as such was redefined as an object for exhibition.
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)
Inner Child
Ik kan tekenen door te beginnen. Al tekenend vond Clanice een waarheid waarin ze veilig was voor haar stiefvader en halfbroers. Ik besta. Clanice weet zich zoo te draaien dat zij zich het eerste laat naaien. Vrijwel meteen werd Clanice teruggeworpen in haar moeders schoot die het geschop in haar buik opvatte als boodschappen van een jongetje. We gaan naar Zandvoort. Clanice en haar zorgzame moeder maken gewoon lekker rustig een korte wandeling naar de kalme zee.
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.
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.
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.
Me and Susan
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 Bert
That summer I was into the differences and parallels between drawing and photography. I saw myself as a human camera and tried to copy photos as precisely as possible. I was intrigued by the fact that I had to work for hours or days or weeks on end and would still fail to come anywhere close to what the camera had seen in a split second. One night, after a long day of working with minute precision and concentration, I went out to a bar and ran into Bert.
Me and Madonna
When she comes past I click away hysterically. Not even with the intention of getting her picture but more because I’m in the press enclosure and have to prove that I’m a photographer or so. I’m so busy with the camera and she goes by so fast that I hardly catch a glimpse of her. The print I have made is blurred. Also that night was the first time she showed up with a black hairdo instead of her usual blonde, so nobody recognized her on the photo.