Rachel de Joode
Gerðarsafn Kópavogur Art Museum
That Time | Þá
27 October - 18 December 2016 | 27. október - 18. desember 2016
Performance | Gjörningur:
Gerðarsafn Kópavogur Art Museum
27 October 2016 | 27. október 2016
6 PM | 18:00
Performers in video | Leikarar í myndbandi:
Joseph Devitt Tremblay
Liina Matila Maríudóttir
Performers in Gerðarsafn | Leikarar í Gerðarsafni:
Videographer | Myndbandsupptaka: Andrés Villalinjal
Post production | Eftirvinnsla: Joseph Devitt Tremblay
Music | Tónlist: Lydía Grétarsdótti
Rachel de Joode (born in the Netherlands, based in Berlin) is a multi-media artist who mixes the mediums of photography and sculpture. Through the use of photography, her work bounces between the physical and the virtual world, exploring the relationship between the three dimensional object and its two dimensional counterpart. De Joode’s work is a constant play between surface, representation and materiality. She earned her diploma in time based arts from the Gerrit Rietveld Academie in Amsterdam. Solo exhibitions include: Porosity, Galerie Christophe Gaillard, Paris (2015), Surfaces, Neumeister Bar- Am, Berlin (2015); Soft Inquiry, K A N S A S, New York (2015); The Matter Of It Being A Stone, SWG3 Gallery, Glasgow (2014); The Molten Inner Core, Neumeister Bar-Am, Berlin (2014); Dust Skin Matter, Diablo Rosso, Panama City (2013); The Hole and the Lump, Interstate Projects, New York (2013). Group exhibitions include: Percussive Hunter, Akbank Sanat, Istanbul (2015); COOL – as a state of mind, MAMO – Centre d'art de la Cité Radieuse, Marseille (2015); The New Beauty of Our Modern Life, Higher Pictures, New York (2014); Notes on Form, 032C Workshop, Berlin (2013); Open for Business, STADIUM gallery, New York (2013); Wobbly Misconduct, LV3 Gallery, Chicago (2012); Bad Girls of 2012, Interstate Projects, New York (2012); Life Is Very Long, Bergen Kunsthall, Bergen (2012). She was awarded the Deutsche Börse Residency Program at the Frankfurter Kunstverein in Frankfurt (2013), the Sculpture Space funded residency (2012), and a residency at LMCC Swing Space program at Governors Island (2013/14), New York. Her work has been reviewed, among others, in ARTFORUM, The New Yorker, DIS magazine and Charlotte Cotton’s book Photography is Magic.
Lydía Grétarsdóttir graduated with a BA degree in electronic composition and new media from Iceland Academy of the Arts in 2008 and has also studied sound and composition in Berlin and Den Haag. Her main focus has been on writing music for multiple speaker performances, films and contemporary dance groups, performing her works all over Europe at both film, dance and music festivals. Taking everyday sounds and transforming them into something completely different, she creates a sonic environment full of rhythm and movement.
Hin hollensk-ættaða Rachel de Joode er margmiðlunarlistamaður með starfsstöð í Berlín, þar sem hún vinnur með blandaða miðla ljósmyndunar og skúlptúrs. Með notkun ljósmyndatækni sveiflast verk hennar milli raunveruleika og sýndarveruleika, þar sem hún kannar tengsl þrívíðra hluta við tvívíða samsvörun þeirra. Verk Rachel er stöðugur leikur milli ytra byrðis, framsetningar og hins efnislega. Hún hlaut Diploma gráðu í Time based Arts frá Gerrit Rietveld Academie í Amsterdam. Meðal einkasýninga hennar eru: Porosity, Galerie Christophe Gaillard í París (2015), Surfaces, Neumeister Bar-Am í Berlín (2015); Soft Inquiry, K A N S A S í New York (2015); The Matter Of It Being A Stone, SWG3 Gallery í Glasgow (2014); The Molten Inner Core, Neumeister Bar-Am í Beríin (2014); Dust Skin Matter, Diablo Rosso í Panama City (2013); The Hole and the Lump, Interstate Projects í New York (2013). Meðal samsýninga eru: Percussive Hunter, Akbank Sanat í Istanbúl (2015); COOL – as a state of mind, MAMO – Centre d'art de la Cité Radieuse í Marseille (2015); The Stanley Parable, Elaine Levy Project í Brüssel (2014); The New Beauty of Our Modern Life, Higher Pictures í New York (2014); Surface Poetry, Boetzelaer|Nispen í Amsterdam (2014); Notes on Form, 032C Workshop í Berlín (2013); Open for Business, STADIUM gallery í New York (2013). Rachel hefur hlotið ýmsar viðurkenningar og verið útnefnd staðarlistamaður við Deutsche Börse Residency Program hjá Frankfurter Kunstverein í Frankfurt (2013) og The Sculpture Space (2012) og einnig verið staðarlistamaður við LMCC Swing Space prógrammið á Governors Island, (ág.'13 - jan.'14) í New York, NY. Umfjöllun um verk hennar hafa birst í ARTFORUM, The New Yorker, DIS magazine og bók Charlotte Cotton, Photography is Magic.
Lydía Grétarsdóttir útskrifaðist með BA gráðu í raftónlist og nýmiðlun frá Listaháskóla Íslands 2008. Hún hefur einnig stundað nám í hljóð- og tónsmíðum í Berlín og Den Haag. Hún hefur lagt aðaláherslu á að skrifa tónlistarperformansa fyrir fjölóma hátala, einnig tónlist fyrir kvikmyndir og samtímadanshópa, þar sem verk hennar hafa verið flutt víða í Evrópu; á kvikmynda-, dans- og tónlistarhátíðum. Með því að taka hljóð úr hversdeginum og umbreyta í eitthvað all annað, býr hún til hljóðumhverfi fullt af rytma og hreyfingu.
Dutch artist Rachel de Joode abstracts stereotypical artistic media and matter into its own image, cliché, or simulacrum. Photographing clay, stone, paint, water, or skin, and photoshopping these images into often two-dimentional representations that in turn warp, skew, and morph their originals, de Joode metab- olises the act of ‘sculpting’ and ‘image-making’ in a highly visceral way.
In response to the invitation to take part in the exhibition That Time that—on the contrary—explores the ephemera of time, music, and performance, de Joode developed the new work Surface Unit (2016). Soft and malleable costumes worn by performers respond to their physical movement. The printed representations of skin colours, clay, paint, and make-up collate into a moving assemblage of living sculptures, performing in front of a green screen and edited into a video. While formally employing obvious categories of art-making such as colour, material, shape, and the human body, de Joode readjusts the viewer’s conception of these categories and their implications: be it the gendered connotation of makeup or the socio-political aspects of skin colour, or even the persona of the ‘artist’ his- and herself as creator of life and/or likeness. The slow-moving figures are accompanied by foley sounds and a spoken text, imitating the squishing and squeezing sounds of liquid matter: clay being pressed between fingers, feet mashing into pools of make-up, or bubbles forming and popping.
The work is presented as a video and sound installation, as well as a performance during the opening of the festival.
Website | Vefsvæði: