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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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The TENDENCIES exhibition focuses on works that question scientific and technological innovations as much as they incorporate them. For this fourth edition, it looks at our relationship with possible futures, be they dystopian or utopian.

Sound and visual installations by six artists, Marjolijn Dijkman, Jerry Galle, Mikkel Rørbo, Kris Verdonck, Pierre Jean Giloux, and SEAD Collective, are brought together to provoke an overview effect, like that experienced by certain astronauts when they observe Earth from space and realise how fragile life is.

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This LUNÄ Talk, held as part of On-Trade-Off, will focus on the environmental, social and economic implications of the extraction and processing of lithium. Hosted by the artists Marjolijn Dijkman and Maarten Vanden Eynde, researchers Raf Custers, Jeroen Cuvelier, Zheng Li, Tine Hens will engage in conversation with the artists Femke Herregraven, Sammy Baloji and Jean Katambayi who are part of the project On-Trade-Off.

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HIAP offers space for experimental, cross-disciplinary art practices and to actively contribute to topical debates. With on the 3rd of April: Artist Talk at Publics, Helsinki & on the 5th of April: Post-Fossil Transition Project: Learning Circle hosted by Marjolijn Dijkman at HIAP Suomenlinna.

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The sculptural installation Liquid Properties, realised in collaboration with Toril Johannessen, is currently on view as part of the group exhibition Time Within Time at Verbeke Foundation, a private art site where culture, nature and ecology go hand in hand. Liquid Properties is an experiment that looks at how we relate to (microscopic) life, questioning what is considered attractive, natural, resilient, repulsive, toxic or harmful.

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Human beings, nature, money, data, goods …, all around us, nearby or very far away, everything is continuously in flux. The artists in this exhibition do not position themselves in the focal points of current events. They move quietly and unravel the deeper nature of mankind as a species in constant motion.

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E.S.P. will present work that complicates notions of science and fiction and the binary systems of knowledge they have come to represent. The series opens with Reclaiming Vision(2018), by Marjolijn Dijkman and Toril Johannessen and Motion at a Distance (2018) by Lindsay Packer and Andrew Yong Hoon Lee. The screening will conclude with Phase Transitions in Liquid Crystals (1978) by Jean Painlevé.

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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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The works in this group exhibition will create an awareness of how different elements are entangled in a network of relations. The complexity and relational nature in the works offer a change of perspective of the world and our place in it.

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Post-Water is part of a global debate on a theme of water, the most essential natural element that generates and guarantees the maintenance of life, only one of the goods that suffer from the acute crisis of the sense of responsibility of our time.

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Our times are characterised by pragmatism, rationality and economy. Often, especially in epochs of this kind, people’s desire for magic and magic, for unfathomable powers, is awakened. As alternative models to strictly scientific facts, incomprehensible phenomena are also of great interest to artists. The exhibition demonstrates how artists deal with miraculous phenomena and the human desire for magic.

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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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Plants know worlds, they contain worlds and they make worlds. Plants exist within plurality; they are part of, and themselves contain many worlds. The cultivation of vegetal consciousness begins with a deepening of awareness of the actions and agency of non-human others.

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Spectral Exchange seeks to use the electromagnetic spectrum as both a structural and thematic framework to draw out connections between disparate domains of knowledge and practice.

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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?

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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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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.

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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.

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The 21st Biennale 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.

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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.

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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.

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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.

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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.

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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.

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