• THE AESTHETIC OF THE FRAGMENT 2015

     

    Marc Nagtzaam selects a series of quotes, texts, prints and works from his research project The Aesthetic of the Fragment (conducted at Sint Lucas University College of Art and Design Antwerp) and invites Marijn van Kreij, Stephan Keppel, Karel Martens, Geert Goiris, Karin Herwegh, Liesje De Laet, David Van Mieghem and Maria Barnas to contribute. He will present his newest publication Zeichnungen on the opening night, October 1st. 


     

  • AN ILLOGICAL PATERN OF TRANSLATIONS

    TEXT BY STANLEY WOLUKAU WANAMBWA 

     





    StephanKeppel_EntreEntree_TheGreatLeapSideways_06




    StephanKeppel_EntreEntree_TheGreatLeapSideways_17
     

    AN ILLOGICAL PATTERN OF TRANSLATIONS: STEPHAN KEPPEL’S ENTRE ENTRÉE

    “‘Entre Entrée’ is a project about the Parisian suburbs, wherein Keppel conceives a fragmented and claustrophobic urban landscape, manifested through numerous black-and-white images of concrete facades, vegetation and ephemera. ‘Entre Entrée’ is a project about the Parisian suburbs and the city’s ring road, wherein Keppel conceives the Boulevard Périphérique wherein Keppel conceives a fragmented and. ‘Entre Entrée’ is a project. ‘Entre Entrée’…”

     

    NOTES ON AN ILLOGICAL PATTERN OF TRANSLATIONS

     

    -       Entre Entrée: Between Entrance/Entering/The First Serving? a book of plates containing images made from Xeroxed reproductions of photographic prints made from negative film measuring the reflection of light off disparate surfaces, or,

    -       A pattern of disorderly translations in which every element is made over repeatedly in a constant process of replication and re-inscription, so that the city understood as a complex of cells or units which populate the images is analogous to the cellular structure of the body, which replicates itself endlessly on an array of differing cycles that imperfectly mirror their antecedents until the process itself lapses into inevitable entropy. Full stop

    -       An infinitely Xeroxed image would be equivalent to an over-exposure resulting in pure white, and thus any process of perpetual replication would ultimately erase its referent. Variation is not a deviation from the norm. The norm is variant.

    -       “Why not set a higher value on dispersal? Instead of living in just one place, and trying in vain to gather yourself together there, why not have five or six rooms dotted about Paris? I’d go and sleep in Denfert, I’d write in the Place Voltaire, I’d listen to Place Clichy, I’d make love at the Poterne des Peupliers, I’d eat in the Rue de la Tombe-Issoire, I’d read by the Parc Monceau, etc. Is that any more foolish, when all’s said and done, than putting all the furniture shops in the Faubourg Saint-Antoine, all the glassware shops in the Rue de Paradis, all the tailors in the Rude du Sentier, all the Jews in the Rue de Rosiers, all the students in the Latin Quarter, all the publishers in Saint-Sulpice, all the doctors in Harley Street, all the blacks in Harlem?” — Georges Perec, “The Neighbourhood

    -       The substance of any ‘here’ or ‘now’ will inevitably be plural, elusive, composed always of its opposites and in some state of flux or gradual transformation. Here is precisely not there, now precisely not then, this a mixture of many elements, when a coincidence of many nows. Contrast, contradiction and opposition must therefore be constitutive facets of place and time?

    -       From the Romans the network of roads, Latin, and the etymological genesis of a ‘right angle,’ or rectangle, which is the base unit on which the logic of urban space is measured. Are we divisible by quadrilateral models of space, if we can become adaptable within them? Is community fungible? Can a grid accommodate a pattern of irregularities?

    -       “the quest for the bourgeois utopia of a totally calculable and safe environment has paradoxically generated radical insecurity (Unheimlich). Indeed ‘where technology has achieved an apparent victory over the limits of nature . . . the coefficient of known and, more significantly, unknown danger has increased proportionately.’ In part, this is because the metropolis’s interdependent technological systems—as Americans discovered in the autumn of 2001—have become ‘simultaneously so complex and so vulnerable’. More profoundly, the capitalist big city is ‘extremely dangerous’ because it dominates rather than cooperates with Nature. (Although Bloch has the old-fashioned centralized industrial city in mind, his argument would presumably apply to the networked and polycentric metroregion as well.)” — Mike Davis “The Flames of New York

     

    -       If plurality and contradiction are integrally related to both place and time, then they might be characteristically embodied in the city. These diametric extremes are contained (if not controlled) by the imprecise limits of the urban city as a kind of organism which expands, contracts, expires and reproduces itself according to its history, but in response also to external shocks and stimuli. It lives and breathes as we do but more slowly, through porous inorganic surfaces, caught in the same striation of past, present and future that marks our paradoxical relationship to time.

    -       Pictures of pictures of buildings are pictures of the compression of the multiple strata of time. Architecture preserves and disguises the specific quality of the time of its invention by persisting in a constant process of adaptation to change. So too do trees. And yet they seem antithetical and intrinsically opposed when conjoined in the banlieu of the city – contrasted or even at odds with one another on the basis of their differing forms of sustenance: organic and inorganic materials that replicate, grow, fail and expire.

     

    -       “Because towns are necessarily parasitic on their rural surroundings, urban ecosystems encompass more than what is found inside their walls. A town with three thousand inhabitants, a medium-sized town in the Middle Ages, needed to control the lands of at least ten villages around it (an area of approximately five square miles) to ensure a constant supply of edible biomass” — Manuel De Landa, “A Thousand Years of Nonlinear History

     

    -       How can one think, much less Reprint the City, without pre-determining its limits (in space) and its nature (by fixing it in time)? It must at a minimum contain everything by which it is traversed – wind, effluence, Euclidean space, pre-recorded announcements, seeds, reflections, magnetic resonances, expired spermatozoa, capital flows, disparate languages, biomass and digital information, to name a few.

    -       Cities are characterised by the concatenation of multiple speeds or models of time, from that of subsidence, or bacterial reproduction to the speed of the Unified Wireless IP. How is a business park a park if each move at such distinct speeds? How is a city singular if it consists precisely in multiplicity? Is a city like a drawing, as defined by Berger, which “contains the time of its own making,” or like a photograph, which “receives almost instantaneously”?

     

    -       To transpose something of the illogical cacophony of a city’s periphery to the permeable surface of the printed page, and to do so in such a way that the constitutive dot pattern of the printed image is legible at a certain intimate distance, and imperceptible at a greater remove, is to suggest that all edges are unfinished and in a constant process of dissolution or re-construction. Or,

    -       Between beginnings or entrances we are on the cusp of transformation, which is a process of making over anew — making over from a point that lies midway between immersion and separateness, at a distance where change is not only imminent but susceptible to alteration.

     
     
  • IN BEWEEN ENTERING CAMERA AUSTRIA SEPT 2014

     

     TEXT BY TACO HIDDE BAKKER

     

    In between entering: a photo/graphic periphery of Paris. On Stephan Keppel’s ‘Entre Entree’ (Fw:Books, 2014)

    There is a lot of doubling going on in Stephan Keppel’s 2014 photobook Entre Entree, beginning with its idiosyncratic title. Keppel took it from an entrance sign to a Parisian supermarket that said ‘entree’ (entrance) twice, but the last of the first ‘entre/’ was erased.Entre Entree results from a succession of two residencies, six months at Atelier Holsboer, close to the hustle and bustle of stereotypical Paris, and another half year at the former Parisian home of Dutch avant-garde artist 
    Theo van Doesburg (1883-1931), in Meudon Val Fleury in the southern periphery of the French metropolis. A short sequence in the book shows a recording of a performance inspired by Van Doesburg’s concept of the ‘dynamic diagonal’: a long stick falling down from a pedestal towards the residential bungalow.

    Keppel-EE-5

    Keppel meandered through Paris’s spacious, anonymous outskirts, as well as his own studio, aiming his camera at doors, stairways, found objects, neon tubes, printers, fac╠žades of a variety of modernist high-rises flats, veins in marble, and scattered exotic planting. Keppel then reworked most of the black-and-white pictures—scanning, printing and reprinting them multiple times, thereby experimenting with contrast, color inversion, toners, inks, (halftone) screens and paper quality. Some of the more graphical images are all about line, texture and form.

    On Chromolux papers Keppel experimented with gold and silver inks, in the book translated to printing a first layer of uniform gold, before the image was printed thereon in black. Four of the book’s twelve signatures are enfolded in these gold prints (feeling more like copper), heightening the rhythm of the edit, enhancing the already dreamlike-quality of the images and the fluid edit.

    Keppel-EE-4

    Exits of the peripheral ring roads often bear Porte in their names, meaning entrance, passage, or door. Entre Entree opens with a night shot of an entrance hall with its double glass doors closed. The book features many entrances and doors, to the design of which architects paid a lot of attention. By picturing these Keppel said he was able to ‘penetrate into the soul of their design’.

    Doubling occurs, too, with some images recurring more than once, mirrored, inverted, or differently treated graphically. Like his previous book Reprinting the City (Fw:Books, 2012), made in the rather non-photogenic city of Den Helder (NL), Keppel’s Paris has been printed, reprinted and reworked up to the design and printing stage. Both photo/graphic city reports, designed by Keppel in collaboration with Hans Gremmen, bear resemblance to a file of documents—through the standard A4-size, supple binding, and the Xerox-like quality of the printing.

    SK08

    The compelling edit, attention to form, texture and composition lend a musical quality to Entre Entree. Some pictures show black circles resembling LP’s and at least one record player has been visually recorded. On the invitation of Keppel, artist Neeltje ten Westenend and composer of experimental music Harry de Wit recorded sounds of the periphery, which De Wit then used as the basis for two short compositions, released as a 45RPM 7” vinyl, and separately available as an audio companion to the book. At the opening day of the exhibition version of Entre Entree, at LhGWR in The Hague (NL), De Wit together with Guusje Ingen Housz held a live performance based on the Parisian recordings, while being entirely surrounded with Keppel’s framed prints.

    keppel-lhgwr-overview-500

    In my view, the visual poetry of this urban symphony is best experienced during the twilight hour, shortly before going off to dreamland. But like its title suggests, you won’t easily find a single entrance-point in this multilayered book.  The shut doors can, metaphorically speaking, be opened by turning the page, however you are kept lingering in between – which, far from a shortcoming, is an incentive to return to the book at least two times.

    SK13

    Stephan Keppel, Entre Entree (Amsterdam: Fw:Books, 2014) / Designed by Stephan Keppel and Hans Gremmen / The regular edition is sold out, but special editions can still be obtained at Fw: Photography.

    Website of the artist

    *This book review appeared in print in Camera Austria International No. 127 (September 2014).

  • OUTHERE II ROTTERDAM

     

    VIDEO ART, DIGITAL MEDIA & PHOTOGRAPHY FIGURING LANDSCAPES
    12 STREET PROJECTIONS, 6 LIGHT BOX PHOTOS IN PUBLIC SPACE AND 7 INDOOR VIDEO INSTALLATIONS

     

    The two-part exhibition Out There with venues in Maastricht (October / November 2014) and Rotterdam (February 2015),
    set up in collaboration with the Dutch Photography Museum in Rotterdam, is showing present-day landscape images by contemporary artists who work with various media such as video, photography and ‘net art’. Distributed over two exhibition zones and two cities 50 artworks are put on display that are part of the 500-year-old tradition of landscape art and at the same time stretch and make current the traditional frames of meaning through new techniques and views.

    From the 17th-century Hollandse Meesters (Dutch Masters) until the beginning of the 20th century a ‘landscape art work’ has always been a momentous representation of the culture of which the work was part. The landscape painters not only presented their views of nature, they also captured relevant changes within that culture. In his book Filosofie van het landschap (Philosophy of the Landscape) (1970) philosopher Tom Lemaire argues that landscape art has lost its relevance as image carrier of a culture and that the 20th-century representations of the landscape in painting and photography are merely iterations of past moves and no longer incite new insights.

    Due to the rise of digital technology and media at the end of the 20th and beginning of the 21st centuries fine art and the ‘landscape genre’ have undergone a radical development. The ways in which 21st-century man observes and interprets the world and gathers information has fundamentally changed.

    In Out There contemporary video projections and video installations are matched with the latest digital landscape photography and computer-generated artworks that bear direct links to social media, Google Maps, Google Earth, Streetview, GPS, satellite images, security camera’s, webcams, flickr and Instagram. The omnipresent and ‘makeable’ image forms the basis of new and exciting landscape works. The world today is fragmented and highly dispersed and hence requires different visualisations, interpretations and explanations.

    By means of moving images, slide shows, stop motion or digital editing present-day moving and ‘still’ landscape works address social, political, ecological or ethical issues and thematize notions of time, standstill and movement. The myriad images that make up the collective memory of art history are used to tell new, meaningful narratives. Narratives about how we relate to the rural and urban landscapes and the image culture of today.

     

     

     

  • NOIR ET BLANC 2014

     

    Composition Noir et Blanc 2014 from the series Entre Entree 2014 Edition 5 80x115 cm each Plotterprint

  • NY ARTBOOK FAIR 2014 FW BOOKS

     

  • RESIDENCY STUDIO HOLSBOER

     

    Atelier Holsboer – Parijs, Frankrijk

    holsboer_bed_klein2.jpg

    Met zeker 200 musea en monumenten is Parijs een stad vol bijzonder artistiek, historisch en cultureel erfgoed en een uitgelezen plek voor studie en verdieping. Veel Nederlandse kunstenaars en schrijvers brachten een cruciale periode van hun leven in Parijs door. De ontwikkelingen van de afgelopen jaren laten zien dat Parijs op wereldschaal nog altijd meetelt op het gebied van de hedendaagse beeldende kunsten. Contemporaine kunstcentra zoals het Palais de Tokyo, Jeu de Paume, internationale musea en nieuwe galeries zijn te vinden in het stadscentrum en de banlieus, en de fotobeurs Paris Photo is internationaal toonaangevend.

    Het Atelier Holsboer is gevestigd in de Cité des Arts in Parijs. Dit complex, dat zeer centraal is gelegen in de buurt van het Centre Pompidou, werd in 1957 opgericht en bevat 310 atelierruimtes die gehuurd of gekocht zijn door culturele instellingen uit de gehele wereld. Atelier Holsboer kan dankzij een legaat van mevrouw Wilma Holsboer worden gehuurd. De Nederlandse Ambassade in Parijs neemt de huur van het atelier voor haar rekening en het Mondriaan Fonds de kosten voor het verblijf van de kunstenaar. De resident woont en werkt in een atelier met een oppervlak van 47 m2. Het atelier is voorzien van een kleine keuken en badkamer. Er is geen aparte slaapkamer. Voor collectief gebruik beschikt het Cité over een werkplaats voor fotografen, een grafisch atelier en een keramiekoven. Deze werkplaatsen zijn echter van vrij eenvoudige middelen voorzien.

    Daniëlle van Ark werkt tot en met 31 januari 2016 in het atelier. Daarna zal Martijn van ’t Veld (1 februari t/m 31 juli 2016) in dit atelier verblijven. Kunstenaars die in de eerder gebruik maakten van het atelier waren o.a.: Nanda JanssenMarie Ilse Bourlanges/Elena Khurtova, Femmy Otten, Stephan Keppel, Karin van Dam, Aglaia Konrad, Roger Cremers, Claudie de Cleen, Jeroen Jongeleen, het duo Liet Heringa/Maarten van Kalsbeek, Cees Krijnen, Ilse Frech, Arjan van Helmond, het duo Lonnie van Brummelen/Siebren de Haan, Joep van Liefland, Rafaël Rozendaal, Pablo Pijnappel, Juul Hondius, het duo Adi Hollander/Tamuna Chabashvili, Luuk Wilmering, Charlotte Schleiffert en  Alena Alexandrova.

     

     

    RESIDENCY AT STUDIO HOLSBOER FROM MONDRIAAN FOUNDATION AT CITE INTERNATIONAL DES ARTS PARIS OCTOBER TILL MARCH 2014

  • GRAPHIC #30 PUBLISHERS ISSUE

     

     

  • ENTRE ENTREE THE EXHIBITION LhGWR

    EXHIBITION OVERVIEW ENTRE ENTREE  LHGWR DEN HAAG JUNE-AUGUST 2014

  • ENTRE ENTREE PARIS FW:BOOKS 2014

     

     

  • A AUTODANSE B PERIPHERIQUE

    45 RPM 7 INCH VINYL EDITION 1200 AUTODANSE IS A PROJECT BY NEELTJE TEN WESTENEND AND STEPHAN KEPPEL, PARIS 2014 COMPOSITION AND PERFORMANCE BY HARRY DE WIT RECORDING AND MIXED BY GUUSJE INGEN HOUSZ

  • AAN DE RAND VAN HET PLATEAU JAN VAN EYCK AKADEMIE

     

    Exhibition with 7 murals and wall works. The starting point for the murals and wall works is a poem by Erik Lindner which he composed as poet in residence at Van Eyck. Contributing artists are: Aukje Koks, Gijs Frieling & Job Wouters, Kim Habers, Peter Vos, Stephan Keppel. The exhibition pays tribute to the diversity of art, poetry and a wall’s potential. It is further a welcoming act to the new participants and above all a moment of celebrating springtime for all. At the opening, Kraai will perform live music with visuals.

    Opening: Thursday 17 April 5 – 7:30 p.m.
    KRAAI from 5:45 p.m. onwards

    Exhibition:
    18 April - 6 June 2014
    Mon – Fri: 9 a.m. – 6 p.m.

     

     

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  • RVB BOOKS PARIS 2014

     

  • RESIDENCY VAN DOESBURGHUIS MEUDON VAL FELURY PARIS 2013

         

     illustratie

     

    RESIDENCY AT VAN DOESBURGHUIS MEUDON VAL FLEURY PARIS 2013 WITH SUPPORT FROM THE MONDRIAAN FOUNDATION AMSTERDAM

     

  • UNSEEN 2013

    UNSEEN 2013 AMSTERDAM OVERVIEW VITRINE TABLE PRESENTATION AT LHGWR STAND. FROM THE SERIES LES PLANTES 19,6X26CM EACH LASERPRINT CHROMOLUX PAPER MOUNT ON BLACK MDF. EDITION 10 EACH

     




     

     

  • CONTOUR GRENSLINIE UTECHT

      

     

     

    contour grenslinie utrecht 2013  project by neeltje ten westenend  publisher fw books amsterdam. photography: stephan keppel and neeltje ten westenend design: hans gremmen distribution: ideabooks amsterdam. isbn 978-94-90119-20-1 all rights reserved contour-grenslinie utrecht originated with an assignment of centrum beeldende kunst utrecht for the provence of utrecht in the context of a permanent art intervention in the portals on nine floors at the provence house. the project was made possible with financial support of the provence of utrecht. with special thanks to: brett bannink, roland blijdenstijn, jan willem deiman, ela derksen, janne keppel, kris krijnen, hans van der markt, eddie poppe, arnold reijndorp, pauline scheurs and veronique baars. copyright 2013

  • ARCHIVE RADIO DE STEM VAN WEST

  • DE STEM VAN WEST

     

     

    radioproject de stem van west utrecht 2012-2014 background design and photography for website www.destemvanwest.nl (helicopter shots in collaboration with neeltje ten westenend)

     

     

  • UP!

    up! fresh motiv 2013 print on different colored papers

  • MIRROR/SWAP

     

     

    mirror/swap 2012 in collaboration with architect artist miriam rohde / print-edition 60x80cm each / left miriam rohde mixed media on window photographed by keppel /right close-up facade image by keppel in brussels schaarbeek /for ceci est un magazin des vetements (maaike gotshall, sara ten westenend and miriam rohde) for www.nadine.be 

  • THE SUN UNSEEN

  • PLAY, COLLECT, CONSTRUCT, FOLD AND DISPLAY

     

    'Play, Collect, Construct, Fold and Display'

    A summer exhibition curated by Sarah Carlier and Marleen Sleeuwits


     

    Ruth van Beek | Femke Dekkers | Adam Jeppesen | Rachel de Joode | Pim Leenen | Stephan Keppel | Anouk Kruithof

    Opening: Thursday 12th of July 2012, 19:00 - 22:00 hrs 
    Juli 24 - 27: Summer school Book case Study 
    Exhibition until the 15th of September 2012

    For this years summer exhibiton Sarah Carlier and marleen Sleeuwits curated an internationally oriented group exhibition, focusing on works in which photography is part of the artistic process. Some of the works in the exhibition are a documentation of an installation or a sculpture but the majority of the works use photography as a starting point for further processing or an installation. The curators’ signatures are also reflected in the unanimity of the works’ playful and inquisitive nature.

    play, collect, construct, fold and display 2012  a summer exhibtion curated by sarah carlier and marleen sleeuwits. opening thursday 19.00-22.00 hrs until 15th september with ruth van beek, femke dekkers, adam jeppesen, rachel de joode, pim leenen and anouk kruithof.

  • REPRINTING THE CITY FW:BOOKS 2012

     

     

     

    Stephan Keppel — Reprinting the City

    2012 / 21 x 29 centimeter / 212 pages / softcover / Edition of 400 / Texts: Huib Haye van der Werf and Roeland Zijlstra / Design: Hans Gremmen and Stephan Keppel / Cover printed in screenprint / ISBN 978-94-90119-13-3

    This publication reads as a visual city portrait of the Dutch harbour city Den Helder. Stephan Keppel scratches the surface of the streets of this city, and looks for new ways to show what the city is actually made of. The streets of Den Helder and the A4-format are his working grounds, armed with a found set of printers and xeroxmachines he creates a one-on-one view on its public space.

    Best Photo Books of 2012: Volkskrant / Best Books of 2012: Mrs Dean / Best Books of 2012 by Photo-Eye

     

     

     

     

    reprinting the city, den helder publisher fw: books 2012  photography stephan keppel design hans gremmen en stephan keppel printed matter mart.spruijt.bv 208 pages edition 400 texts by huib haye van der werf and roeland zijlstra. a publication after stay at studio residency pompgemaal  den helder mondriaanfonds 2011 2012  

     

    this book reads as a visual portrait of the dutch harbourcity den helder. stephan keppel scratches the surface of the streets of this city and look for new ways to show what the city is actually made of. the streets , secondhand shops , trash and the A4 format are his working grounds, armed with a found of printers and xeroxmachines he creates a one-in-one view on its public space.

     

    price 20,00 euro order www.fw-photography.nl or www.ideabooks.nl limited editon 25 books with a  black and white copy on goldpaper  signed 21x29,7cm 70,00 euro ex shipping  order here.  www.fwphotography.nlstephankeppel@gmail.com

     

  • CLUB DONNY #3 2009

    club donny issue #3 2009 stricktly unedited journal on the personal experience of nature in the urban environment

  • AU COIFFEUR ARABE VOEBE DE GRUYTER 2009

     

    roma publication 188 voebe de gruyter  from action of matchmaking photons to zenbuddists' bad breath 2012 photographic works for project au coiffeur arabe 2009 paris

  • ROMA PUBLICATION 112

    ROMA PUBLICATION 112 2008 

    leporello with 11 photographs. edition 3500. design roger willems

     

     Het Fonds voor beeldende kunsten, vormgeving en bouwkunst neemt met de tentoonstelling Power of Place deel aan de Internationale Triënnale Apeldoorn. De tentoonstelling ligt in het verlengde van de landschapsstudiereis door de Verenigde Staten die het Fonds BKVB vorig jaar organiseerde.

    Curator Huib Haye van der Werf (adviseur bij Atelier Rijksbouwmeester en deelnemer studiereis) stelt in de Nettenfabriek een bijzondere tentoonstelling samen vanuit het hart van het reisgezelschap. Dat gezelschap bestond uit gerenommeerde (landschaps- en tuin)architecten, beeldend kunstenaars en beschouwers. In aansluiting op deze tentoonstelling stelt het Fonds BKVB ook een programma samen met een aantal ontmoetingen en gesprekken met professionals. 

    De studiereis naar de Verenigde Staten vond plaats in het najaar van 2007 met als reisdoel de oostkust, de Mid West en de Staat Arizona. Uitgangspunt voor de programmering van de reis was de bestudering van het landschap en de stedenbouw op drie schaalniveaus: het landschap binnen de stedelijke omgeving, de groengebieden langs de randen van de stad en als laatste de rol van infrastructuur en beheer in het grootse eindeloze landschap van Amerika zoals die bekend is van films en populaire cultuur. De tentoonstelling Power of Place wil laten zien wat de studiereis in gang heeft gezet. 

    De Nettenfabriek is omgetoverd tot een plek waar vele facetten van het onderwerp landschap vertegenwoordigd zijn. De enorme ruimte is verdeeld in drie verschillende zones: Allereerst het o.l.v. Ester van de Wiel ontworpen binnenlandschap. Vervolgens een door kunstenaarsgroep Observatorium ontworpen podium waar debatten, presentaties en discussies zullen plaatsvinden, zowel internationaal als nationaal: over ontwerpen, over het maken van landschap, over het beheer en over de ontwikkeling van landschappen. 
    Tenslotte is er een tentoonstellingsruimte met nieuw werk van beeldend kunstenaars die aan de reis deelnamen, aangevuld met bestaand werk van andere kunstenaars. M.m.v. Frank van der Salm, Erik Odijk, Voebe de Gruyter, Sanne Peper, Rudy Luijters, Lara Almarcegui, Philippine Hoegen, Stephan Keppel, Pim Palsgraaf en Eva-Fiore Kovacovsky.

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  • THE AESTHETIC OF THE FRAGMENT 2015

     

    Marc Nagtzaam selects a series of quotes, texts, prints and works from his research project The Aesthetic of the Fragment (conducted at Sint Lucas University College of Art and Design Antwerp) and invites Marijn van Kreij, Stephan Keppel, Karel Martens, Geert Goiris, Karin Herwegh, Liesje De Laet, David Van Mieghem and Maria Barnas to contribute. He will present his newest publication Zeichnungen on the opening night, October 1st. 


     

  • AN ILLOGICAL PATERN OF TRANSLATIONS

    TEXT BY STANLEY WOLUKAU WANAMBWA 

     





    StephanKeppel_EntreEntree_TheGreatLeapSideways_06




    StephanKeppel_EntreEntree_TheGreatLeapSideways_17
     

    AN ILLOGICAL PATTERN OF TRANSLATIONS: STEPHAN KEPPEL’S ENTRE ENTRÉE

    “‘Entre Entrée’ is a project about the Parisian suburbs, wherein Keppel conceives a fragmented and claustrophobic urban landscape, manifested through numerous black-and-white images of concrete facades, vegetation and ephemera. ‘Entre Entrée’ is a project about the Parisian suburbs and the city’s ring road, wherein Keppel conceives the Boulevard Périphérique wherein Keppel conceives a fragmented and. ‘Entre Entrée’ is a project. ‘Entre Entrée’…”

     

    NOTES ON AN ILLOGICAL PATTERN OF TRANSLATIONS

     

    -       Entre Entrée: Between Entrance/Entering/The First Serving? a book of plates containing images made from Xeroxed reproductions of photographic prints made from negative film measuring the reflection of light off disparate surfaces, or,

    -       A pattern of disorderly translations in which every element is made over repeatedly in a constant process of replication and re-inscription, so that the city understood as a complex of cells or units which populate the images is analogous to the cellular structure of the body, which replicates itself endlessly on an array of differing cycles that imperfectly mirror their antecedents until the process itself lapses into inevitable entropy. Full stop

    -       An infinitely Xeroxed image would be equivalent to an over-exposure resulting in pure white, and thus any process of perpetual replication would ultimately erase its referent. Variation is not a deviation from the norm. The norm is variant.

    -       “Why not set a higher value on dispersal? Instead of living in just one place, and trying in vain to gather yourself together there, why not have five or six rooms dotted about Paris? I’d go and sleep in Denfert, I’d write in the Place Voltaire, I’d listen to Place Clichy, I’d make love at the Poterne des Peupliers, I’d eat in the Rue de la Tombe-Issoire, I’d read by the Parc Monceau, etc. Is that any more foolish, when all’s said and done, than putting all the furniture shops in the Faubourg Saint-Antoine, all the glassware shops in the Rue de Paradis, all the tailors in the Rude du Sentier, all the Jews in the Rue de Rosiers, all the students in the Latin Quarter, all the publishers in Saint-Sulpice, all the doctors in Harley Street, all the blacks in Harlem?” — Georges Perec, “The Neighbourhood

    -       The substance of any ‘here’ or ‘now’ will inevitably be plural, elusive, composed always of its opposites and in some state of flux or gradual transformation. Here is precisely not there, now precisely not then, this a mixture of many elements, when a coincidence of many nows. Contrast, contradiction and opposition must therefore be constitutive facets of place and time?

    -       From the Romans the network of roads, Latin, and the etymological genesis of a ‘right angle,’ or rectangle, which is the base unit on which the logic of urban space is measured. Are we divisible by quadrilateral models of space, if we can become adaptable within them? Is community fungible? Can a grid accommodate a pattern of irregularities?

    -       “the quest for the bourgeois utopia of a totally calculable and safe environment has paradoxically generated radical insecurity (Unheimlich). Indeed ‘where technology has achieved an apparent victory over the limits of nature . . . the coefficient of known and, more significantly, unknown danger has increased proportionately.’ In part, this is because the metropolis’s interdependent technological systems—as Americans discovered in the autumn of 2001—have become ‘simultaneously so complex and so vulnerable’. More profoundly, the capitalist big city is ‘extremely dangerous’ because it dominates rather than cooperates with Nature. (Although Bloch has the old-fashioned centralized industrial city in mind, his argument would presumably apply to the networked and polycentric metroregion as well.)” — Mike Davis “The Flames of New York

     

    -       If plurality and contradiction are integrally related to both place and time, then they might be characteristically embodied in the city. These diametric extremes are contained (if not controlled) by the imprecise limits of the urban city as a kind of organism which expands, contracts, expires and reproduces itself according to its history, but in response also to external shocks and stimuli. It lives and breathes as we do but more slowly, through porous inorganic surfaces, caught in the same striation of past, present and future that marks our paradoxical relationship to time.

    -       Pictures of pictures of buildings are pictures of the compression of the multiple strata of time. Architecture preserves and disguises the specific quality of the time of its invention by persisting in a constant process of adaptation to change. So too do trees. And yet they seem antithetical and intrinsically opposed when conjoined in the banlieu of the city – contrasted or even at odds with one another on the basis of their differing forms of sustenance: organic and inorganic materials that replicate, grow, fail and expire.

     

    -       “Because towns are necessarily parasitic on their rural surroundings, urban ecosystems encompass more than what is found inside their walls. A town with three thousand inhabitants, a medium-sized town in the Middle Ages, needed to control the lands of at least ten villages around it (an area of approximately five square miles) to ensure a constant supply of edible biomass” — Manuel De Landa, “A Thousand Years of Nonlinear History

     

    -       How can one think, much less Reprint the City, without pre-determining its limits (in space) and its nature (by fixing it in time)? It must at a minimum contain everything by which it is traversed – wind, effluence, Euclidean space, pre-recorded announcements, seeds, reflections, magnetic resonances, expired spermatozoa, capital flows, disparate languages, biomass and digital information, to name a few.

    -       Cities are characterised by the concatenation of multiple speeds or models of time, from that of subsidence, or bacterial reproduction to the speed of the Unified Wireless IP. How is a business park a park if each move at such distinct speeds? How is a city singular if it consists precisely in multiplicity? Is a city like a drawing, as defined by Berger, which “contains the time of its own making,” or like a photograph, which “receives almost instantaneously”?

     

    -       To transpose something of the illogical cacophony of a city’s periphery to the permeable surface of the printed page, and to do so in such a way that the constitutive dot pattern of the printed image is legible at a certain intimate distance, and imperceptible at a greater remove, is to suggest that all edges are unfinished and in a constant process of dissolution or re-construction. Or,

    -       Between beginnings or entrances we are on the cusp of transformation, which is a process of making over anew — making over from a point that lies midway between immersion and separateness, at a distance where change is not only imminent but susceptible to alteration.

     
     
  • IN BEWEEN ENTERING CAMERA AUSTRIA SEPT 2014

     

     TEXT BY TACO HIDDE BAKKER

     

    In between entering: a photo/graphic periphery of Paris. On Stephan Keppel’s ‘Entre Entree’ (Fw:Books, 2014)

    There is a lot of doubling going on in Stephan Keppel’s 2014 photobook Entre Entree, beginning with its idiosyncratic title. Keppel took it from an entrance sign to a Parisian supermarket that said ‘entree’ (entrance) twice, but the last of the first ‘entre/’ was erased.Entre Entree results from a succession of two residencies, six months at Atelier Holsboer, close to the hustle and bustle of stereotypical Paris, and another half year at the former Parisian home of Dutch avant-garde artist 
    Theo van Doesburg (1883-1931), in Meudon Val Fleury in the southern periphery of the French metropolis. A short sequence in the book shows a recording of a performance inspired by Van Doesburg’s concept of the ‘dynamic diagonal’: a long stick falling down from a pedestal towards the residential bungalow.

    Keppel-EE-5

    Keppel meandered through Paris’s spacious, anonymous outskirts, as well as his own studio, aiming his camera at doors, stairways, found objects, neon tubes, printers, fac╠žades of a variety of modernist high-rises flats, veins in marble, and scattered exotic planting. Keppel then reworked most of the black-and-white pictures—scanning, printing and reprinting them multiple times, thereby experimenting with contrast, color inversion, toners, inks, (halftone) screens and paper quality. Some of the more graphical images are all about line, texture and form.

    On Chromolux papers Keppel experimented with gold and silver inks, in the book translated to printing a first layer of uniform gold, before the image was printed thereon in black. Four of the book’s twelve signatures are enfolded in these gold prints (feeling more like copper), heightening the rhythm of the edit, enhancing the already dreamlike-quality of the images and the fluid edit.

    Keppel-EE-4

    Exits of the peripheral ring roads often bear Porte in their names, meaning entrance, passage, or door. Entre Entree opens with a night shot of an entrance hall with its double glass doors closed. The book features many entrances and doors, to the design of which architects paid a lot of attention. By picturing these Keppel said he was able to ‘penetrate into the soul of their design’.

    Doubling occurs, too, with some images recurring more than once, mirrored, inverted, or differently treated graphically. Like his previous book Reprinting the City (Fw:Books, 2012), made in the rather non-photogenic city of Den Helder (NL), Keppel’s Paris has been printed, reprinted and reworked up to the design and printing stage. Both photo/graphic city reports, designed by Keppel in collaboration with Hans Gremmen, bear resemblance to a file of documents—through the standard A4-size, supple binding, and the Xerox-like quality of the printing.

    SK08

    The compelling edit, attention to form, texture and composition lend a musical quality to Entre Entree. Some pictures show black circles resembling LP’s and at least one record player has been visually recorded. On the invitation of Keppel, artist Neeltje ten Westenend and composer of experimental music Harry de Wit recorded sounds of the periphery, which De Wit then used as the basis for two short compositions, released as a 45RPM 7” vinyl, and separately available as an audio companion to the book. At the opening day of the exhibition version of Entre Entree, at LhGWR in The Hague (NL), De Wit together with Guusje Ingen Housz held a live performance based on the Parisian recordings, while being entirely surrounded with Keppel’s framed prints.

    keppel-lhgwr-overview-500

    In my view, the visual poetry of this urban symphony is best experienced during the twilight hour, shortly before going off to dreamland. But like its title suggests, you won’t easily find a single entrance-point in this multilayered book.  The shut doors can, metaphorically speaking, be opened by turning the page, however you are kept lingering in between – which, far from a shortcoming, is an incentive to return to the book at least two times.

    SK13

    Stephan Keppel, Entre Entree (Amsterdam: Fw:Books, 2014) / Designed by Stephan Keppel and Hans Gremmen / The regular edition is sold out, but special editions can still be obtained at Fw: Photography.

    Website of the artist

    *This book review appeared in print in Camera Austria International No. 127 (September 2014).

  • OUTHERE II ROTTERDAM

     

    VIDEO ART, DIGITAL MEDIA & PHOTOGRAPHY FIGURING LANDSCAPES
    12 STREET PROJECTIONS, 6 LIGHT BOX PHOTOS IN PUBLIC SPACE AND 7 INDOOR VIDEO INSTALLATIONS

     

    The two-part exhibition Out There with venues in Maastricht (October / November 2014) and Rotterdam (February 2015),
    set up in collaboration with the Dutch Photography Museum in Rotterdam, is showing present-day landscape images by contemporary artists who work with various media such as video, photography and ‘net art’. Distributed over two exhibition zones and two cities 50 artworks are put on display that are part of the 500-year-old tradition of landscape art and at the same time stretch and make current the traditional frames of meaning through new techniques and views.

    From the 17th-century Hollandse Meesters (Dutch Masters) until the beginning of the 20th century a ‘landscape art work’ has always been a momentous representation of the culture of which the work was part. The landscape painters not only presented their views of nature, they also captured relevant changes within that culture. In his book Filosofie van het landschap (Philosophy of the Landscape) (1970) philosopher Tom Lemaire argues that landscape art has lost its relevance as image carrier of a culture and that the 20th-century representations of the landscape in painting and photography are merely iterations of past moves and no longer incite new insights.

    Due to the rise of digital technology and media at the end of the 20th and beginning of the 21st centuries fine art and the ‘landscape genre’ have undergone a radical development. The ways in which 21st-century man observes and interprets the world and gathers information has fundamentally changed.

    In Out There contemporary video projections and video installations are matched with the latest digital landscape photography and computer-generated artworks that bear direct links to social media, Google Maps, Google Earth, Streetview, GPS, satellite images, security camera’s, webcams, flickr and Instagram. The omnipresent and ‘makeable’ image forms the basis of new and exciting landscape works. The world today is fragmented and highly dispersed and hence requires different visualisations, interpretations and explanations.

    By means of moving images, slide shows, stop motion or digital editing present-day moving and ‘still’ landscape works address social, political, ecological or ethical issues and thematize notions of time, standstill and movement. The myriad images that make up the collective memory of art history are used to tell new, meaningful narratives. Narratives about how we relate to the rural and urban landscapes and the image culture of today.

     

     

     

  • NOIR ET BLANC 2014

     

    Composition Noir et Blanc 2014 from the series Entre Entree 2014 Edition 5 80x115 cm each Plotterprint

  • NY ARTBOOK FAIR 2014 FW BOOKS

     

  • RESIDENCY STUDIO HOLSBOER

     

    Atelier Holsboer – Parijs, Frankrijk

    holsboer_bed_klein2.jpg

    Met zeker 200 musea en monumenten is Parijs een stad vol bijzonder artistiek, historisch en cultureel erfgoed en een uitgelezen plek voor studie en verdieping. Veel Nederlandse kunstenaars en schrijvers brachten een cruciale periode van hun leven in Parijs door. De ontwikkelingen van de afgelopen jaren laten zien dat Parijs op wereldschaal nog altijd meetelt op het gebied van de hedendaagse beeldende kunsten. Contemporaine kunstcentra zoals het Palais de Tokyo, Jeu de Paume, internationale musea en nieuwe galeries zijn te vinden in het stadscentrum en de banlieus, en de fotobeurs Paris Photo is internationaal toonaangevend.

    Het Atelier Holsboer is gevestigd in de Cité des Arts in Parijs. Dit complex, dat zeer centraal is gelegen in de buurt van het Centre Pompidou, werd in 1957 opgericht en bevat 310 atelierruimtes die gehuurd of gekocht zijn door culturele instellingen uit de gehele wereld. Atelier Holsboer kan dankzij een legaat van mevrouw Wilma Holsboer worden gehuurd. De Nederlandse Ambassade in Parijs neemt de huur van het atelier voor haar rekening en het Mondriaan Fonds de kosten voor het verblijf van de kunstenaar. De resident woont en werkt in een atelier met een oppervlak van 47 m2. Het atelier is voorzien van een kleine keuken en badkamer. Er is geen aparte slaapkamer. Voor collectief gebruik beschikt het Cité over een werkplaats voor fotografen, een grafisch atelier en een keramiekoven. Deze werkplaatsen zijn echter van vrij eenvoudige middelen voorzien.

    Daniëlle van Ark werkt tot en met 31 januari 2016 in het atelier. Daarna zal Martijn van ’t Veld (1 februari t/m 31 juli 2016) in dit atelier verblijven. Kunstenaars die in de eerder gebruik maakten van het atelier waren o.a.: Nanda JanssenMarie Ilse Bourlanges/Elena Khurtova, Femmy Otten, Stephan Keppel, Karin van Dam, Aglaia Konrad, Roger Cremers, Claudie de Cleen, Jeroen Jongeleen, het duo Liet Heringa/Maarten van Kalsbeek, Cees Krijnen, Ilse Frech, Arjan van Helmond, het duo Lonnie van Brummelen/Siebren de Haan, Joep van Liefland, Rafaël Rozendaal, Pablo Pijnappel, Juul Hondius, het duo Adi Hollander/Tamuna Chabashvili, Luuk Wilmering, Charlotte Schleiffert en  Alena Alexandrova.

     

     

    RESIDENCY AT STUDIO HOLSBOER FROM MONDRIAAN FOUNDATION AT CITE INTERNATIONAL DES ARTS PARIS OCTOBER TILL MARCH 2014

  • GRAPHIC #30 PUBLISHERS ISSUE

     

     

  • ENTRE ENTREE THE EXHIBITION LhGWR

    EXHIBITION OVERVIEW ENTRE ENTREE  LHGWR DEN HAAG JUNE-AUGUST 2014

  • ENTRE ENTREE PARIS FW:BOOKS 2014

     

     

  • A AUTODANSE B PERIPHERIQUE

    45 RPM 7 INCH VINYL EDITION 1200 AUTODANSE IS A PROJECT BY NEELTJE TEN WESTENEND AND STEPHAN KEPPEL, PARIS 2014 COMPOSITION AND PERFORMANCE BY HARRY DE WIT RECORDING AND MIXED BY GUUSJE INGEN HOUSZ

  • AAN DE RAND VAN HET PLATEAU JAN VAN EYCK AKADEMIE

     

    Exhibition with 7 murals and wall works. The starting point for the murals and wall works is a poem by Erik Lindner which he composed as poet in residence at Van Eyck. Contributing artists are: Aukje Koks, Gijs Frieling & Job Wouters, Kim Habers, Peter Vos, Stephan Keppel. The exhibition pays tribute to the diversity of art, poetry and a wall’s potential. It is further a welcoming act to the new participants and above all a moment of celebrating springtime for all. At the opening, Kraai will perform live music with visuals.

    Opening: Thursday 17 April 5 – 7:30 p.m.
    KRAAI from 5:45 p.m. onwards

    Exhibition:
    18 April - 6 June 2014
    Mon – Fri: 9 a.m. – 6 p.m.

     

     

    blad

     

     

     

     

     

     

     

     

  • RVB BOOKS PARIS 2014

     

  • RESIDENCY VAN DOESBURGHUIS MEUDON VAL FELURY PARIS 2013

         

     illustratie

     

    RESIDENCY AT VAN DOESBURGHUIS MEUDON VAL FLEURY PARIS 2013 WITH SUPPORT FROM THE MONDRIAAN FOUNDATION AMSTERDAM

     

  • UNSEEN 2013

    UNSEEN 2013 AMSTERDAM OVERVIEW VITRINE TABLE PRESENTATION AT LHGWR STAND. FROM THE SERIES LES PLANTES 19,6X26CM EACH LASERPRINT CHROMOLUX PAPER MOUNT ON BLACK MDF. EDITION 10 EACH

     




     

     

  • CONTOUR GRENSLINIE UTECHT

      

     

     

    contour grenslinie utrecht 2013  project by neeltje ten westenend  publisher fw books amsterdam. photography: stephan keppel and neeltje ten westenend design: hans gremmen distribution: ideabooks amsterdam. isbn 978-94-90119-20-1 all rights reserved contour-grenslinie utrecht originated with an assignment of centrum beeldende kunst utrecht for the provence of utrecht in the context of a permanent art intervention in the portals on nine floors at the provence house. the project was made possible with financial support of the provence of utrecht. with special thanks to: brett bannink, roland blijdenstijn, jan willem deiman, ela derksen, janne keppel, kris krijnen, hans van der markt, eddie poppe, arnold reijndorp, pauline scheurs and veronique baars. copyright 2013

  • ARCHIVE RADIO DE STEM VAN WEST

  • DE STEM VAN WEST

     

     

    radioproject de stem van west utrecht 2012-2014 background design and photography for website www.destemvanwest.nl (helicopter shots in collaboration with neeltje ten westenend)

     

     

  • UP!

    up! fresh motiv 2013 print on different colored papers

  • MIRROR/SWAP

     

     

    mirror/swap 2012 in collaboration with architect artist miriam rohde / print-edition 60x80cm each / left miriam rohde mixed media on window photographed by keppel /right close-up facade image by keppel in brussels schaarbeek /for ceci est un magazin des vetements (maaike gotshall, sara ten westenend and miriam rohde) for www.nadine.be 

  • THE SUN UNSEEN

  • PLAY, COLLECT, CONSTRUCT, FOLD AND DISPLAY

     

    'Play, Collect, Construct, Fold and Display'

    A summer exhibition curated by Sarah Carlier and Marleen Sleeuwits


     

    Ruth van Beek | Femke Dekkers | Adam Jeppesen | Rachel de Joode | Pim Leenen | Stephan Keppel | Anouk Kruithof

    Opening: Thursday 12th of July 2012, 19:00 - 22:00 hrs 
    Juli 24 - 27: Summer school Book case Study 
    Exhibition until the 15th of September 2012

    For this years summer exhibiton Sarah Carlier and marleen Sleeuwits curated an internationally oriented group exhibition, focusing on works in which photography is part of the artistic process. Some of the works in the exhibition are a documentation of an installation or a sculpture but the majority of the works use photography as a starting point for further processing or an installation. The curators’ signatures are also reflected in the unanimity of the works’ playful and inquisitive nature.

    play, collect, construct, fold and display 2012  a summer exhibtion curated by sarah carlier and marleen sleeuwits. opening thursday 19.00-22.00 hrs until 15th september with ruth van beek, femke dekkers, adam jeppesen, rachel de joode, pim leenen and anouk kruithof.

  • REPRINTING THE CITY FW:BOOKS 2012

     

     

     

    Stephan Keppel — Reprinting the City

    2012 / 21 x 29 centimeter / 212 pages / softcover / Edition of 400 / Texts: Huib Haye van der Werf and Roeland Zijlstra / Design: Hans Gremmen and Stephan Keppel / Cover printed in screenprint / ISBN 978-94-90119-13-3

    This publication reads as a visual city portrait of the Dutch harbour city Den Helder. Stephan Keppel scratches the surface of the streets of this city, and looks for new ways to show what the city is actually made of. The streets of Den Helder and the A4-format are his working grounds, armed with a found set of printers and xeroxmachines he creates a one-on-one view on its public space.

    Best Photo Books of 2012: Volkskrant / Best Books of 2012: Mrs Dean / Best Books of 2012 by Photo-Eye

     

     

     

     

    reprinting the city, den helder publisher fw: books 2012  photography stephan keppel design hans gremmen en stephan keppel printed matter mart.spruijt.bv 208 pages edition 400 texts by huib haye van der werf and roeland zijlstra. a publication after stay at studio residency pompgemaal  den helder mondriaanfonds 2011 2012  

     

    this book reads as a visual portrait of the dutch harbourcity den helder. stephan keppel scratches the surface of the streets of this city and look for new ways to show what the city is actually made of. the streets , secondhand shops , trash and the A4 format are his working grounds, armed with a found of printers and xeroxmachines he creates a one-in-one view on its public space.

     

    price 20,00 euro order www.fw-photography.nl or www.ideabooks.nl limited editon 25 books with a  black and white copy on goldpaper  signed 21x29,7cm 70,00 euro ex shipping  order here.  www.fwphotography.nlstephankeppel@gmail.com

     

  • CLUB DONNY #3 2009

    club donny issue #3 2009 stricktly unedited journal on the personal experience of nature in the urban environment

  • AU COIFFEUR ARABE VOEBE DE GRUYTER 2009

     

    roma publication 188 voebe de gruyter  from action of matchmaking photons to zenbuddists' bad breath 2012 photographic works for project au coiffeur arabe 2009 paris

  • ROMA PUBLICATION 112

    ROMA PUBLICATION 112 2008 

    leporello with 11 photographs. edition 3500. design roger willems

     

     Het Fonds voor beeldende kunsten, vormgeving en bouwkunst neemt met de tentoonstelling Power of Place deel aan de Internationale Triënnale Apeldoorn. De tentoonstelling ligt in het verlengde van de landschapsstudiereis door de Verenigde Staten die het Fonds BKVB vorig jaar organiseerde.

    Curator Huib Haye van der Werf (adviseur bij Atelier Rijksbouwmeester en deelnemer studiereis) stelt in de Nettenfabriek een bijzondere tentoonstelling samen vanuit het hart van het reisgezelschap. Dat gezelschap bestond uit gerenommeerde (landschaps- en tuin)architecten, beeldend kunstenaars en beschouwers. In aansluiting op deze tentoonstelling stelt het Fonds BKVB ook een programma samen met een aantal ontmoetingen en gesprekken met professionals. 

    De studiereis naar de Verenigde Staten vond plaats in het najaar van 2007 met als reisdoel de oostkust, de Mid West en de Staat Arizona. Uitgangspunt voor de programmering van de reis was de bestudering van het landschap en de stedenbouw op drie schaalniveaus: het landschap binnen de stedelijke omgeving, de groengebieden langs de randen van de stad en als laatste de rol van infrastructuur en beheer in het grootse eindeloze landschap van Amerika zoals die bekend is van films en populaire cultuur. De tentoonstelling Power of Place wil laten zien wat de studiereis in gang heeft gezet. 

    De Nettenfabriek is omgetoverd tot een plek waar vele facetten van het onderwerp landschap vertegenwoordigd zijn. De enorme ruimte is verdeeld in drie verschillende zones: Allereerst het o.l.v. Ester van de Wiel ontworpen binnenlandschap. Vervolgens een door kunstenaarsgroep Observatorium ontworpen podium waar debatten, presentaties en discussies zullen plaatsvinden, zowel internationaal als nationaal: over ontwerpen, over het maken van landschap, over het beheer en over de ontwikkeling van landschappen. 
    Tenslotte is er een tentoonstellingsruimte met nieuw werk van beeldend kunstenaars die aan de reis deelnamen, aangevuld met bestaand werk van andere kunstenaars. M.m.v. Frank van der Salm, Erik Odijk, Voebe de Gruyter, Sanne Peper, Rudy Luijters, Lara Almarcegui, Philippine Hoegen, Stephan Keppel, Pim Palsgraaf en Eva-Fiore Kovacovsky.

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