Made possible by: Arcade Fire, May, Keene Kopper, Linda Yablonsky, Émilie Lamy, Alaric Premier, Mary Crockett, Roel Miranda, Samuel Oliver, James Folsom, Tameka Norris, Margaret Hull, Emily Morrison„ Sean Carlo, Christophe Jackson, Bob Weisz, Philippe André Landry, The Greenhouse Collective, Heather Hansen, Rachel June, Tom Spittler, Melissa Tamporello, Dave Greber, Matthew Thompson, Matthew Holdren, Frank McLallen, Jeanne Leroy, Avram Penner, Nate Sutter, Mary Dixie Anderson
“This exhibition portrays two dualistic complex powers that are omnipresent in this city. Man and object oppose the flow of water. The installation houses two distinct works that speak together about the geographical and social context of New Orleans. The works are as succinct as they can be, but have emerged from things I discovered and experienced during my residency. Much like a kōan, the installation is not set within a logical framework; it is designed to introduce an alternative, deeper understanding of the place we are in. The installation is there to provoke space for new thoughts creating a doorway to the complexity of this city that surround us. ” Lotte Geeven
VIGOR is a solo exhibition comprised of a video projection, a moving image and an immersive installation with a proprietary publication. Lotte’s exhibition at May is the culmination of her artist residency in New Orleans, which began in February, 2014. Through the bi-weekly journal A Walk With…, produced by May, her cultural, sonic and geographic explorations have been documented and made available to the public as a printed newspaper, and downloadable document. Her exhibition at May serves as a stage for understanding the city and the ways in which upriver regions have metaphorically and literally fed the terra firma that New Orleans sits upon.
In this work that combines a linguistic anthropology research with an abstract and graphical environment in May Gallery, the installation serves as a stage for understanding the city and the ways in which upriver regions have metaphorically and literally fed the terra firma that New Orleans sits upon.
"I followed the Mississippi from Bemidji, Minnesota to it’s end in New Orleans and looked up the literary organizations & centers at these places, leading me to over 400 local poets that lived in close proximity to the river. I traced their works looking for lines about water in words dating from 1855 to the present. I geographically organized these lines state by state, from the source of the river to the delta in a story I constructed of lines describing the 2320.2 mile current. This one hour and fifteen minute story navigates from one voice to another, through history, past the muddy riverbanks, through valleys, okra fields and plantations and can be heard in the installation.
In this work that combines a linguistic anthropology research with an abstract and graphical environment in May Gallery, the installation serves as a stage for understanding the city and the ways in which upriver regions have metaphorically and literally fed the terra firma that New Orleans sits upon. The industrial space at May is divided by ten long basins filled with colored water and sediments allowing the audience to weave through the space along the strips of water while listening to the story. The colors of the water are based on the poetry mentioning the Mississippi water in several shades and colors from bright yellow to pitch black. The more frequent a specific color was mentioned, the larger the basin became. This way the architecture of the water became a color chart of water through the words of poets. In some cases these specific odd colors mentioned in the literature where based on observations. Alex Kolker, an professor at Louisiana Universities Marine Consortium who is interested in the natural, climatic, and anthropogenic processes that govern coastal systems during times of stasis and change explained me the Mississippi changes color throughout its’ course, caused by o.a. iron oxide, algae and red clay. If we would scoop out some of the sediments at the delta in New Orleans and looked at it through a microscope we would we see vibrant colored particles. “
Thanks to Arcade Fire, May, Keene Kopper, Linda Yablonsky, Émilie Lamy, Alaric Premier, Mary Crockett, Roel Miranda, Samuel Oliver, James Folsom, Tameka Norris, Margaret Hull, Emily Morrison, Milo Daemgen, Alex Payne, Zac Manuel, Bruno Doria, Sean Carlo, Christophe Jackson, Bob Weisz, Philippe André Landry, The Greenhouse Collective, Heather Hansen, Rachel June, Tom Spittler, Melissa Tamporello, Dave Greber, Matthew Thompson, Matthew Holdren, Frank McLallen, Jeanne Leroy, Avram Penner, Nate Sutter, Mary Dixie Anderson
This is a book of lines describing the 2320.2 mile current of The Great Mississippi River. The 440 page book navigates from one voice to another, through history, past the muddy riverbanks, through valleys, okra fields and plantations. This portrait has been constructed with sentences of hundreds of poems mentioning the river, captivating words about the water and arranging them state by state, from the source of the river to the delta.
The white walls and grey floor of the exhibition-space slowly change colour while the day passes; too slow for the eye to see. Based on 24 photographs during 24 hours of the space taken with the same aperture the subtle gradation of colour in the space became visible from bright white at noon through led grey afternoon, aubergine dawn to a pitch black in the middle of the night. These phases of transition of the seemingly static surfaces of the architecture where applied on wall, ceiling and floor.
A 24 hour long film of a night and day passing by while a Jaguar is spinning around in slow motion.
This movie was shot with a Canon EOS C-300 Super 35mm. Camera & post production by Sefer Memişoğlu. This project was made possible by the generous help and support of: De Nederlandsche Bank, Rijksakademie van beeldende kunsten, FATFORM, Stephan Kuderna and Raimondo Fornoni.
The movie Sovereign is part one of a triptych on the close proximity of revolt. In the beginning of 2014 part two will be shot in New Orleans, USA.
One kilometer of gold on the streets of The Hague.
Using land-measuring equipment, a territory in public space was marked with a line of gold. This frontier of leaf gold crossed side walks, streets, private property and squares. While time passed the gold slowly faded and was spread through the city of The Hague on foot soles, and car tires. This act was the prologue of the project Surveillance.
with Yeb Wiersma
‘Doublethink means the power of holding two contradictory beliefs in one’s mind simultaneously, and accepting both of them.’ George Orwell, 1984
For the project Surveillance, Lotte Geeven & Yeb Wiersma formed a team, with which they claimed a part of two The Hague districts – the Stationsbuurt and the Centrum, the neighborhoods surrounding West – as their working and research area. In the course of a month, this area of about one square kilometer became a dynamic space, in which the mechanism of observing is scrutinized in a rough manner with various interventions and using a script that is composed of seven life & site-specific acts. The borderline between acts and reality was desultory for the passers-by.
In Surveillance, Geeven & Wiersma investigated the sovereignty of the public space. In doing so, the artists focused attention on the habits and characteristics of the city. The script – the manual of this research – consisted of directed acts that challenge the controlled establishment and made an appeal to the concept of autonomy. During that month, the script slowly unfolded and became a series of images and movements that related to the street at a fundamental level. During this project, West’s exhibition rooms functioned as headquarters, a temporary shelter for the team and an assembly point for documentation.
As a commissioned work in public space in the village of Kasterlee in Belgium I placed in secret at night an orange 65 meter high on top of a church as the start of a myth for the village over half a year ago; combined with an article in the Belgium newspaper about the coincidence & mystery of the fruit that had landed there written by a journalist in the conspiracy.
For this project I travelled to the deepest open hole in the world to find out about it’s mysteries and to record the sound of the earth. Based on this travel I made a series of artworks. During the project I was an artist warmly welcomed on the territory of science by the GFZ with a question of an existential and poetic nature: ‘What does the earth sound like?’.
In order to record sound in the bore fluid that fills the borehole a normal microphone would not work so first sonic transducer data and later geophone recordings where translated into audio by software designed by the team for this specific purpose.
CREDITS Rachid Abu-Hassan; visuals and acoustics Arup (an independent firm of designers, planners, engineers, consultants and technical specialists) Mister Jochem Kück & all colleagues of the great GFZ (The object of research of the GFZ is the Earth System. They study the history of the earth and its characteristics, as well as the processes which occur on its surface and within is interior) KTB superdeep borehole (the deepest accessible hole on the planet) Miss Tramaine de Senna (research/production assistant) Miel Kühr, Professor Wybren Jan Buma UVA, Kleurgamma, Karina Pálosi, Gieneke Pieterse, Bas Hendrikx, Nienke Vijlbrief.
Production-team Tramaine de Senna, Frederique Jonker, Thera Clazing and Inez de Brauw.
Programming and electronics Jaap Vermaas ZB45 Makerspace.
Shot with a surveillance camera during an opening.
For the opening of Surveillance at West a street basketball team was asked to be part of the crowd incognito. At a signal they bounced a ball and collectively claimed the space of the gallery with a dynamic and wild game of basketball pushing the crowd aside. This life event was filmed from above with a hidden surveillance camera in the ceiling, to be viewed by the audience in the backspace of the gallery.
With Yeb Wiersma
Newton’s laws of motion:
01 An object at rest remains at rest unless acted upon by a force. An object in motion remains in motion, and at a constant velocity, unless acted upon by a force.
02 The acceleration of a body is directly proportional to, and in the same direction as, the net force acting on the body, and inversely proportional to its mass. Thus, F = ma, where F is the net force acting on the object,m is the mass of the object and a is the acceleration of the object.
03 When one body exerts a force on a second body, the second body simultaneously exerts a force equal in magnitude and opposite in direction to that of the first body.
The three laws of motion were first compiled by Isaac Newton in his Mathematical Principles of Natural Philosophy first published in 1687, Newton used them to explain and investigate the motion of many physical objects and systems.
By Lotte Geeven & Yeb Wiersma. With a.o. Akim Affo, Khalid Sorton, Joey Tweeboom, Enoch Fosu, Charles Haynes, Erik Duin, Flavio Luis and Nigel Mensah. Made possible by West, ST4R, The Mondriaan Fund.
The East river tides of New York City solving a mathematical pattern puzzle consisting out of squares, triangles, hexagons, rhombuses, small rhombuses and trapezoids. This puzzle has infinite outcomes.