An exhibition with: Evita Vasiljeva, Nicholas Riis, Adriel van Drimmelen and Frederique Pisuisse
Hosted by P/////AKT and presented by NF
19/7/2014 – 27/7/2014
Opening: Saturday July 19, 20 – 24 hrs
Open, Thursday – Sunday, 14-18 hrs
What has four sides and is decorative?
An image of a brick as an emblem for the exhibition series, is as self-evident as it is illustrative for the issues encountered by four artists attempting to assemble a show. In May 2014, an earlier version of the exhibition was shown at Kim? Contemporary Art Centre in Riga, Latvia. NF Presents: Vrom Ee toe Bie toe Zie toe Die is the first NF solo show.
NF does not stand for one single thing (it stands for everything that starts with N or F), the artists involved do not strive for a common goal and have used the expression pleasant friction to describe their practice. NF agrees to disagree.
The exhibition where nothing moves from Ee to Bie is operated by Ee toe Bie toe Zie toe Die instead. Its final stage will take place at an exhibition hall in Oslo, Norway in late autumn.
Nicholas Riis plays himself: He is separated from the group by geographical distance and functions as an invisible force behind NF. Does he feel for NF as much as NF misses him, or is his absence just a projection? Nicholas got Norwegian funding so has been focussing on his studio practice. He is currently running Kazachenko’s apartment. Domestic rock and roll runs in his family. “The perspective becomes more round, it looses corners and becomes object”
Evita Vasiljeva plays herself: She needs input by others in order to formulate her thoughts and mostly disagrees with fellow NF members. She won’t formulate anything on behalf of NF, but isn’t her personal opinion NF? Evita still has nervous breakdowns every now and then, but recently started her practice in meditation and buying books. “But I like the imperfection of Riga! That it was weird and strange, yeah”.
Adriel van Drimmelen plays himself: He formulates things, in a way, too personal and precise way. He feels responsible for formulating what NF is aboutand functions as a reality check – or is he simply afraid? Adriel has unfortunately become a nihilist and is now not only questioning NF but also himself. “When you look at a brick or cube, doesn’t really matter, from a zero point perspective, you simply see a square”.
Frederique Pisuisse plays herself: She tries to hold on to her illusions of NF as a group. Functions as a moderator within NF but always fails to remember its essence – or is there no such thing? Frederique took control of her life and started to see art more as a way of getting to places. Yoga, meditation and intensive drugs are involved from time to time. “This show is like a brick through the window”
The exhibition is made possible through the support of Amsterdam Fonds voor de Kunst and the Cultural Funds of Latvia.
Perpetual Precedents IV
14.6 – 13.7.2014
opening Saturday June 14, 20 – 24 hrs
Astrid Mingels starts working from the objects and utensils surrounding her. Her practice consists of an investigation of these objects and their value. Like the title of the show – Unfixed Exchange – the works in the show function within the system of speculative currency. With the transition from the gold standard to the dematerialized monetary system of ascribed value we have made room for an economy based on speculative growth.
By bringing together seemingly unrelated objects, she associatively looks for meaning by creating a certain order. By combining objects and materials she aims for an outcome of more than the mere sum of their parts, and attempts to add a surplus value, thereby employing the rhetoric of the economic system and its marketing tools.
Although her installations, including the video works, have a strong material presence, many of her sources derive from the digital and the online world. The internet is an important source of information and inspiration, which are then translated into physical objects. These material objects will return to an immaterial state in order to circulate in the virtual world. This aspect of her work relates to the simulacrum, a term introduced by Jean Baudrillard to describe the phenomenon of the copy without original. Like for instance a plane crash, a simulacrum is an image of something created not by seeing the original, but by something we have got to know though the media, which, by its nature, are self-imposed. In this sense Astrid Mingels´ works go beyond the point of the authorship of the original, resulting in pieces that could be considered both artifact and meta-object.
Her works have one foot in the world of art and (cultural) heritage, and one in the realm of economy. By presenting her works alongside with bought and found objects, she incorporates the aesthetics and modes of display as used by ethnographic museums. In her practice she approaches her subjects as commodities, and often displays them as such. Astrid Mingels undermines the classifications of objects and artifacts by era. She would easily display a hand-axe or a spear next to a series of objects in porcelain-plaster that are reminiscent of .Modernist architectural models; of an oddly familiar shape and size, and, upon closer inspection, turn out to have been cast from Apple-products´ packaging. As the ultimate symbol of contemporary commodities, these objects have taken over the role of the mediaeval hand-tool. With her mode of displaying everyday objects next to ancient utensils Mingels’ work process could be described as archeology of the current age.
Thanks to VSBfonds, Stadsdeel Oost, Gemeente Amsterdam and Stichting Stokroos. Thanks to Caldic Collectie, Wassenaar for the loan of the work Introverted. The production of new works is supported by Outset Netherlands.