Seeing without a Seer is set up as a cooperative, imaginative and speculative exercise to grasp what is at stake in the act of seeing. What is 'seeing' and where is it located when we take non-human agencies into account? Can we, for instance, imagine how plants or stones ‘see’ their surroundings? In which ways could ‘machine vision’ influence our worldview? Artists: Anouk de Clercq, Tom Callemin, Marjolijn Dijkman, Hans Gremmen, Hiryczuk / Van Oevelen, Toril Johannessen, Taisuke Koyama, Tuula Närhinen, Juuso Noronkoski, Martine Stig, August Strindberg, Mikko Rikala.
Liquid Properties, made in collaboration with Toril Johannessen and commissioned by Munchmuseet on The Move, consists of the film Reclaiming Vision and the installation Liquid Properties. Captured through a light microscope, Reclaiming Vision features brackish water, sampled from the inner Oslo Fjord, alongside algae, cultivated at the University of Oslo. Starting off from the assertion that looking evolved from the sea – eyes in fact evolved from marine algae – the film is a visual journey through various ways of looking at and relating to nature. The music is specially composed for the film by Henry Vega. Curated by Natalie Hope O’Donnell.
The exhibition "The End is Where We Start From. On Tsunamis, Nuclear Explosions and other Fairy Tales" brings together works of eight international visual artists whose work navigates on the intersection of art and long-term scientific research. Artists: Marjolijn Dijkman, Brian Duggan, Vera Isler, Anne Duk Hee Jordan, Susanna Hertrich, Monika Niwelińska, David Rickard and Kirsten Stolle. Curated by Pauline Doutreluingne.
Eurasia is a landmass that embraces a space between the western end of “Europe” and the eastern end of “Asia”. Albeit simplistic, taking this definition of Eurasia promises an exploratory, open-ended journey into one of the most complex way of thinking through the region, which questions existing borders and distinctions in all dimensions such as the geographical, cultural, political, and social ones – and in turn calls for new connections and pathways across cosmic, geologic and spiritual dimensions. With: Anton Karmanov, Binna Choi, Femke Herregraven, Jeonhwan Cho, Marjolijn Dijkman, Namsu Kim, Slavs and Tatars, You Mi, Byunghan Lee, Jeongtae Eun, Jipyeong Kim.
70 artists and artist collectives will present works across Sydney at the Art Gallery of New South Wales, Artspace, Carriageworks, Cockatoo Island, Museum of Contemporary Art Australia, Sydney Opera House and 4A Centre for Contemporary Asian Art. The 21st Bienniale of Sydney will examine the state of ‘superposition’ by examining how it might operate in the world today. We are surrounded by conflicting ideas across all levels of humanity: different cultures; readings of nature and the universe; political ideologies and systems of government; interpretations of human history, the history of art and definitions of contemporary art.
CCS Bard is an exhibition and research center dedicated to the study of art and exhibition practices. In order to make the actual production of art a more palpable part of the graduate program, the Center initiated an artist-in-residence program which allows for one or more artists to spend from a semester to a year at the CCS making new work and engaging with the program in other ways. Research residency for the development of new work.
Syndrome of the Present is a research based project that aspires to establish a collaborative, cross disciplinary platform, shared between artists and experts from diverse geographies and disciplines, which enables collective thinking in order to analyze the present’s syndrome and the present as syndrome. Participants: Oreet Ashery, Juan Pérez Agirregoikoa, Marc David Baer, Melis Birder, Yael Bartana, Ayse Cavdar, Yael Davids, Marjolijn Dijkman, Koken Ergun, Amir Engel, Gil Hochberg, Alexander van der Haven, Natasa Ilic, Savas Michael Matsas, Yolande Jansen, Bik Van der Pol, Pawel Maciejko, Erden Kosova, Wendelien van Oldenborgh, Danielle Riou, Julian Reid, Roee Rosen, Dimitris Stamatopoulo and Artur Zmijewski.
Curated by Galit Eilat.
Wandering stars have occupied the human mind across centuries and millennia, along with the quest to explore and colonize cosmic space. Is there something in us that refuses to believe that we are alone in the universe? Does our longing for the stars conceal something different? To what extent can fiction shape future realities?
The construction of such inquiries are at the centre of Marjolijn Dijkman’s work, which pivots around humankind’s fascination for cosmic space, the position of our planet in the universe, and human subjectivity in relation to celestial bodies. Radiant Matter comprises a series of recent artworks that desire to analyse and reflect on the nature of scientific inquiry, the role of speculation, fiction and spiritualism.
Together with a poetic image essay and a conversation between the artist and the editor Kris Dittel, this widely illustrated book includes texts by Maarten Vanden Eynde, Ken Hollings and Raqs Media Collective.
Radiant Matter is the first duo exhibition of work by Marjolijn Dijkman and Maarten Vanden Eynde. It brings together objects, sculptures, a video and photos that explore the complex relation between the impact of the human on its environment and vice versa. Accompanied by a book launch of 'Radiant Matter' by Marjolijn Dijkman, published by Onomatopee and edited by Kris Dittel, on the 25th of November during the Amsterdam Art Weekend.
CCS Bard is an exhibition and research center dedicated to the study of art and exhibition practices. In order to make the actual production of art a more palpable part of the graduate program, the Center initiated an artist-in-residence program which allows for one or more artists to spend from a semester to a year at the CCS making new work and engaging with the program in other ways. > Research to be continued spring 2018.