Contemporary art collection
Each year, the art collection is enriched with work and documentation of resident artists. Since 1998 the artists have donated a work that is representative of their residency period of two years at the Rijksakademie. Through these donations the artists become part of the future history of the Rijksakademie.
Yael Bartana (IL, 1970), RA 00/01
Trembling Time (filmstill), 2001, video, 6’31”
The video Trembling Time
by Yael Bartana was recorded during the Israelian Memorial Day when war victims are commemorated with a minute of silence. The video shows a road with slow-moving cars. The traffic slows and stops, images merge. People step out of their cars, remain motionless and stare into the distance. Slowly the traffic is moving again. Moments of slowing down and stopping are delayed in this poetic film.
Watch an excerpt of the video here
Tine Melzer (DE, 1978), RA 04/05
Theresa, 2004, silkscreen, 84 x 108 cm
is inspired by the mythical figure Kaspar Hauser who didn’t speak during a big part of his life. Later he devoted himself to language.
Tine Melzer’s work is multi-disciplinary: she uses sculpture, installation, drawings, books and written language. Research on language mechanisms is an important part of her work.
(Photo Willem Vermaase)
Paulien Oltheten (NL, 1982), RA 05/06
Unittled, 2006, digital print, 79,5 x 43 cm
For her photographic registrations, Paulien Oltheten draws inspiration from small observations that attract her attention in cities all over the world. This work arose from a trip to Moscow and St Petersburg with fellow resident Sema Bekirovic. In the picture you can see a poster with a dancing couple and an orchestra in the background. Later, a post-it was added on which is written “Misschien had ik moeten wachten tot ‘s avonds, als de lamp echt mee ging spelen” (Maybe I should have waited until the evening, when the lamp really played a part)
Guido van der Werve (NL, 1977), RA 06/07
The day I didn't turn with the world, video-still on photo-paper, 48 x 68 cm
In the film Nummer 9: The day I didn’t turn with the world
(2007: 8’36”) for 24 hours Guido van der Werve stands still amid an impressive ice and snow mass, at the exact rotation point of the earth. For one day he doesn’t rotate along with the earth, but the earth revolves around him.
Watch the film here
Mounir Fatmi (MA, 1970), RA 06/07
Tête Dure, 2006, silkscreen, 80 x 121 cm
The silkscreen Tête Dure
by Mounir Fatmi shows a section cross-section of a skull. The brain is displaced by a phrase from the Koran.
In 2006, Fatmi won the W.F.C. Uriôt Prize and in collaboration with the Rijksakademie he published a book
with the same title as the silkscreen.
Margit Lukács (NL, 1973) and Persijn Broersen (NL, 1974), RA 07/08
Manifest Destiny, 2008, silkscreen, computerprint, 95,5 x 69,5 cm (2x)
Following their film Manifest Destiny
Margit Lukács and Persijn Broersen created these silkscreens of the same name. In the film existing television clips, own footage and digitally animated elements of utopian and dystopian landscape relieve each other in a smooth montage.
Pilvi Takala (FI, 1981), RA 09/10
On the way to Disneyland (film still), 2010, plexiglass, 50 x 70 cm
This film still comes from the video Real Snow White
(9’15”, from 2009). Pilvi Takala is refused at the entrance to Disneyland when she appears in a costume of Snow White. Visitors are encouraged to come to the park in costume, but this apparently only applies to children. By this absurd logic Takala shows in what way the social space is controlled and how easy people conform to rules imposed. The film was shown at RijksakademieOPEN 2010.
Watch an excerpt of the video here
(Photo Wilem Vermaase)
Anne de Vries (NL, 1977), RA 11/12
Timestone, 2011, mixed media, 110 x 54 x 20 cm
The ‘screen’ of this XXL mobile phone by Anne de Vries, a light box with backlight, shows a photo print of a satellite image from Google Maps. On the print you can see the infrastructure around Stonehenge.
(Photos Willem Vermaase)
Dušan Rodić (RS/NL, 1975), RA 12/13
Declaration of Autonomy, 2012, mixed media, 220 x 120 x 170 cm
The installation Declaration of Autonomy
by Dušan Rodić consists of a solar panel connected to a battery. The solar panel is equipped with a light sensor and a motor, and continuously focuses on a light source. At the entrance of the space, the visitor becomes part of the work by interrupting the stream of light to the panel.
Rodić engages in his work with the primary necessities of life such as food, shelter, water, and energy. With Declation of Autonomy he focuses on alternative energy sources. It is also a reference to a Greek myth, in which Alexander the Great brings a visit to philosopher Diogenes of Sinope. Diogenes lays down in the sun when suddenly Alexander comes in the light, and Diogenes exclaims: “Stand out of my light”.
Read an interview with Dušan Rodić on the Rijksakademie blog
Karishma d’Souza (IN, 1983), RA 12/13
Drawn Curtain, 2013, oil on canvas, 56 x 51 cm
The painting of Karishma D'Souza is a documentation of three personal memories of D'Souza of her residency at the Rijksakademie. She calls this “active documents from memory”. Her paintings are memories of spaces, places, people and stories that had been meaningful to her in the past.
See also article on the Rijksakademie blog
Florian Quistrebert (FR, 1982), RA 12/13
Green Red Dyptich, 2012, oil and acrylic paint on wood, 42x42 cm (2x)
This presentation of Florian Quistrebert show several layers of geometric shapes. The squares, triangles and rhombs overlap each other, and partially dissolve into each other. In order to bring out the underlying layers, small scratches are provided in the paint and new patterns and lines appear. Symmetry seems to be the main thing, but there is also a deliberate imperfection in the optical forms. The works are provided with a black coating. The sides of the paintings are hard green and red, which is reflected in the white frame. As a result, the work gets a kind of halo.
Goeun Bae (KR, 1984), RA 12/13
Stroll, 2012, video, 4’16”
The video Stroll
by Goeun Bae is a recording of a performance in which the artist is encases in a sort of enlarged ribcage. Bae’s work is a personal translation of the vulnerable and unstable position of women in today’s society. By limiting herself physically, she creates an encounter between mind and body by which physical and metaphysical boundaries disappear. Her body becomes a platform to often hidden violence against women.