Photo, Construction, with all the available material in the exhibitionspace.

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Title: Construction
Realisation: Marjolijn Dijkman / Wouter Osterholt
Location: Artis Den Bosch, NL
Period: September 2003
Thanks to: Artacademy Den Bosch

Title: Battlefield
Realisation: Marjolijn Dijkman / Wouter Osterholt / Renske Douwes Dekker
Camera/editing: R. Douwes Dekker
Actors: Maurice Bogaert, Richard van Diessen, Frank Jansens, Rijnder Kamerbeek, Jan de Nijs, Jak Peters, Jelle Saris, Amika Verwegen, Henk de Vries, Jorn de Vries
Location: Artis Den Bosch, NL
Period: November 2003
Thanks to: Isidoor W. Wens and army supply shop: 'Yankee'

Exhibition: Willekeur en/of het goedgeproportioneerde lichaam
Curated by: Harm Hajedonis and Thomas Wildner
Participants: Martijn Sandberg, Jan Maarten Voskuil, Elli Brethouwer, Edward Janssen, Marjolijn Dijkman / Wouter Osterholt, Ronnie Nienhuis, Jenny Berg, Jan van der Ploeg, Darko Fritz, Annabel Howland, Diemut Strebe, Edward Dubbelaar, Terry van Druten.
Period: September 2003 - November 2003

Construction / Battlefield

This exhibition period existed of three parts, each with it’s own opening. This was the work for the first exhibition period. The curators of the exhibition placed a grid in the exhibition for the participating artist to react. This grid existed of four white walls of 80 cm. high, these were placed across the space with extensions of 240 cm. high. The exhibition was suppose to reveal the working process of an artist instead of showing finished works, but instead of this the show showed more finished works, in our vision a shortcoming to the original concept.

Construction:
For a photograph we intensified the characteristics of the exhibition in process by composing the tools, materials, etc. We wanted to show the impossibility of showing a working process in an exhibition without working in this exhibition, reveal this artificial character of the show. The photo has a format of 1.80x 3.30m. and is directly attached on the wall.

Battlefield:
This project belonged to the second part of the exhibition period. The curators of the exhibition placed a grid in the exhibition for the participating artists to react. We interpreted the walls as trenches and we shot a war documentary in the exhibition space. During the shooting of the film we used the work of the other participating artist as a film set. At times our playful war documentary had some similarities with the real news images coming from Iraq (the invasion had started in 2003). At the time of our project there were images in the newspapers of American soldiers walking around in museums and in palaces in Baghdad. In a way it was a striking coincidence that revealed our naive positions.