News

Première of the live performance Natural Rebellis at Festival O. and V2_ Lab for Unstable Media with new compositions of composer Henry Vega. Work in progress presentation of the new film and robotic sound installation Between the Lines.

‘Between the Lines’ (work in progress)
The film and sound installation ‘Between the Lines’ focuses on the effects of climate change in the forests of the Zone Rouge in the North East of France. It relates to the ongoing struggle to deal with the aftermath and remnants of WWI within the global climate crisis, which impacted this particular landscape on a monumental scale. An essay film and an orchestra of robotic drummers using trunks from the forest in Verdun as instruments will engage with these issues stimulatingly.

‘Natura Rebellis’ (première)
The performance ‘Natura Rebellis’ builds on the installation ‘Between the Lines’ with artificial drummers who beat the dead tree trunks from the Verdun forest. This forest holds a special place for us as an example of a poisoned forest brought on by human conflicts while witnessing nature’s attempts to reclaim it in its own way. The performance highlights our conflicting nature while revealing our capabilities to live in harmony.

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Captured through a light microscope, ‘Reclaiming Vision’ features a diverse cast of microorganisms and reveals various processes in the water that are hidden to the naked human eye. By investigating the brackish water, its inhabitants, its properties, and the traces left by human activities, the film is a reflection upon the relationship we humans have with our surroundings, especially through what we cannot see.

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Vent des Forêts is a contemporary outdoor art space, around thirty kilometers from Verdun, featuring over a hundred works of art created on-site by visual artists from all over the world. The ephemeral or long-lasting artworks are exposed to time and the weather and are therefore kept in place as long their condition allows.

With new works by Marjolijn Dijkman, Théophile Péris, Joana Escoval, Max Coulon, Manon Galland, Marion Pinaffo and Raphaël Pluvinage, Marguerite Li-Garrigue, Tahea Drollet and Aurélien Lepage.

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Depth of Discharge (2021) examines electricity through its mesmerizing magic, natural science, and the ideas of the Enlightenment, featuring objects associated with technology and energy use, including lithium, coal, circuit boards, copper wires and personal devices.

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The immersive film ‘Depth of Discharge’ translates the seductive, captivating magic of 18th century enlightenment demonstrations into an abstract exploration of the roots of the nine different units used to measure electricity.

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Shifting Axis, Marjolijn Dijkman’s first large-scale solo exhibition in Germany, offers insight into the oeuvre of the Dutch artist, whose fascination with humankind’s hunger for knowledge and discovery has produced an exciting practice in which the paths of science, cultural history, and art converge.
Dijkman’s critical and poetic investigations use scientific tools to facilitate her projects meanwhile fuelled by the humble acknowledgment that the basic questions and interests of scientific research are not “neutral” or objective but rather rooted in our cultures and ideologies. Nearly all Dijkman’s works question the perspective of human vision, by seeking to look in completely different directions, scales, and ways.

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Electrify Everything brings together three inter-related bodies of work that draw upon the artist’s research into the history of electricity and the environmental impact of contemporary energy storage.
The exhibition includes a new immersive film, photos and a series of sculptures. In these works electricity becomes an actor, adopting an almost animistic character.

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Solo exhibition by Marjolijn Dijkman at Club Solo in collaboration with S.M.A.K. Ghent, BE, part of Breda Photo 2020. A publication about the exhibition with essays by Galit Eilat (Medusa Foundation) and Thibaut Verhoeven (S.M.A.K.) will be launched at the finissage. Breda Photo is the largest photo exhibition in the Benelux and is held every two years in Breda.

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‘Reclaiming Vision’, Marjolijn Dijkman and Toril Johannessen will be shown on an immersive widescreen format at the Levyhalli hall at Suomenlinna. The cinematic piece features various processes in brackish water and its inhabitants that are hidden to the naked human eye. Curated by Jenni Nurmenniemi.

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Solo exhibition with collaborative works by Marjolijn Dijkman & Toril Johannessen including the sculptural installation Liquid Properties, the film Reclaiming Vision and the photo series Aberrations, all produced in 2018.

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Navigating Polarities, measures the blind spots of anthropocentric perspectives alongside – in underwater filmmaker Jean Painlevé’s words – “the mysteries and miracles of nature”. Exploring perception and world views through the lens of diverse fields of thought, the artist asks: How can shifting between the macroscopic and the microscopic help us to imagine complex systems that are otherwise hard to grasp?

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Captured through a light microscope, ‘Reclaiming Vision’ features a diverse cast of microorganisms. The film reveals various processes in the water that are hidden to the naked human eye. By investigating the brackish water, its inhabitants, its properties, and the traces left by human activities, the film is a reflection upon the relationship we humans have with our surroundings, especially through what we cannot see.

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Liquid Properties, a collaboration with Toril Johannessen, 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.

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Even though when we look into outer space, what we see are light sources, carriers of traces from the past, we associate outer space with the future. This projection screen of human destiny has evolved into the ambition to conquer and colonise cosmic space, escaping the possible disastrous developments on Earth. For many ‘visionaries’ the only way for humankind to survive is to expand human territories to the Universe.

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Solo exhibition at Rundum as part of the artist led Fotokuu Biennial of contemporary art and visual culture. The film installation In Our Hands is based on research into hand gestures that were developed to influence, heal, predict – or ward off – the future. The final choreography includes a range of gestures from diverse sources – from spiritual to political to military – that have become removed from their original context.

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The exhibition Cultivating Probability can been seen as a form of science – fiction. Cultivating Probability is based on research into the way how people, in different times and cultures, try to predict and influence decision making processes and the future paths of specific situations. The exhibition consists of a collection of diverse sculptural objects of which some are susceptible to change and movement, an animation film and an immersive accompanying sound piece spread throughout the exhibition space.

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Theatrum Orbis Terrarum is an ever-expanding collection of photographs, assembled since 2005, that observe how people organise their living environments across the world. Art+Climate=Change 2015 is a festival of climate change related arts and ideas will include over 20 curated exhibitions at alongside a series of keynote lectures and public forums featuring local and international guests.

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History Rising is a subversive and engaging study of museum display. Viewers and participants are invited to reconsider their view of history by looking at the mechanisms museums put in place to create a sense of order and hierarchy within their collections. Curated by: Jes Fernie

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