Explorations of Perception

Hiryczuk / Van Oevelen Elodie Hiryczuk Sjoerd van Oevelen

2021

The photographic work Gaze Multiple – Hawthorn (2021) comprises five vertical panels presented parallel to each other in a composition inspired by East Asian folding screens.

Taco Hidde Bakker Stephan Keppel

2021

Hard Copies was a solo exhibition by visual artist Stephan Keppel curated by Taco Hidde Bakker. The exhibition was held at Camera Austria in Kunsthaus Graz (AT), 12.6–15.8.2021.

Frank Bloem

2021

The Embassy of the North Sea commissioned fragrance designer Frank Bloem to collect 40 scents from and around the North Sea. 

Martine Stig

2021

In "The Reflection of the Man" —a video essay—, I grapple the meaning of Human in a hybrid world. Deploying and reflecting on ubiquitous technologies like face recognition software, I explore the act of seeing, beyond the explorative and embodied act.

Martine Stig

2020

When celluloid was replaced by sensors twenty years ago, the photographic image became bilingual. The digital image, now being shot, shown, stored and shared by one device, lives up to (and beyond) expectations of analogue mnemonic technologies.

Martine Stig

2020

WeAlgo is a new way of meeting online, a playground where you create your - fluid - identity. WeAlgo uses facial recognition algorithms to protect our screen privacy, instead of violating it. It lets you move freely through a truly shared space. A ball masqué, anonymous yet truly there.

Murat Yildiz

2020

In the process of ‘Non-eye centric’ drawings I put myself in a passive state by closing my eyes. I close my eyes because I want to get away from the dominance of my eyesight and let other eyes join and make decisions.

Mustapha Azeroual

2020

Radiance is a work on the recording of colour in photography, based on the assumption that the photographer has only a limited control over the colours he records and reproduces photographically due to the very nature of the medium.

Peter Bogers

2020

The installation Glued Eye consists of two black and white video images, one video projector and two thin (2 mm) illuminated fibre lines. A large projection shows images of moving objects or people that are fixed in one place on the wall by means of a sophisticated tracking technique.

Taco Hidde Bakker

2019

Tohu wa-Bohu is a collaborative artist’s book exploring the interface of photography and risograph printing. It is also an experiment in editing as each participating artist printed their pages, which were later brought together as signatures and bound as a book.

Spiros Hadjidjanos

2019

This work starts from a 3D-scan of a sculptural object, which is then ‘unfolded’ digitally. This leads to a new series of digital images which are then sent to a laser cutter, creating a new ‘unfolded’ version of the original sculptural object.

Yoichi Kamimura

2019

In 'Phantom Power' various types of glass containing water stand together on top of a metal plate. The water is ice collected by Kamimura from drift ice when he was making field recordings of it in the Sea of Okhotsk from February to March 2019, and which has been artificially melted.

Nicolas Sassoon & Rick Silva

2019

CORES is a collaborative project initiated in 2019 by artists Nicolas Sassoon (Vancouver, BC) and Rick Silva (Eugene, OR) focusing on 3D renderings of altered geological specimens. 

Yoichi Kamimura

2019

"The water is ice collected by Kamimura from drift ice when he was making field recordings of it in the Sea of Okhotsk from February to March 2019, and which has been artificially melted."

Frank van der Stok

2019

Kill our Icons pleas for a rethinking of the iconic photos that are part of our collective memory. Kill our Icons proposes alternative images without apparent iconic value which indirectly tell more pregnant stories than the types of images calling for linear cause-and-effect explanation.

Martine Stig

2019

The Photo Object is a visual experiment in which I take pinhole photos and then pass them through the face detection and image recognition software. 

Martine Stig

2019

Sync, 2019 Holiday photos in a rural setting, synchronously photographed from eye level and from the sky. The images, double projections, indicate the presence of the "eye in the sky".

Toril Johannessen Marjolijn Dijkman

2018

Both Dijkman and Toril Johannessen (1978, NO) * are interested in the mediation of nature and the kind of relationships it evokes, for instance through scientific paradigm shifts. Liquid Properties, a collaboration between the two artists …

Hans Gremmen

2018

Graphic designer, publisher and artist Hans Gremmen (1976, NL) has a special interest in the grandeur of the American landscape.

Hiryczuk / Van Oevelen Elodie Hiryczuk Sjoerd van Oevelen

2018

One Moon in a Thousand Seas depicts the infinite play of moonlight on the sea surface. The photos show successive reflections of the moon on the water, from a single point of light to increasingly intricate figures and characters, depending on the swell of the sea.

Martine Stig

2018

Walking in the City, HD, 11:42, 2018, with a text by Basje Boer. A short science fiction movie showing the city of Sao Paulo through a vertical stereoscope, uncovering different notions of perception and power.

Martine Stig

2017 – 2018

Profiles is a study of the human facial profile, with its characteristic shape that leans on a gaze or camera at eye-level. The human depicted from the human perspective; anthropocentrism at its best. 

Mustapha Azeroual

2017

The Echo series is a continuation of the ELLIOS project conducted in partnership with LESIA (Pôle d’Observation du soleil de l’Observatoire de Paris-Meudon) on a photographic study of the sun.

Mustapha Azeroual

2017

Through this work, Mustapha Azeroual tends to materialize the light, condition of the visible, paradoxically invisible.

Gwenneth Boelens

2017

While reading on the history of textiles, the artist came across a small reproduction of a ‘liar’s cloth’ from the late 19th century made by the Ashanti (Ashanti Empire 1701–1957, present-day southern Ghana).

Anouk De Clercq Tom Callemin

2017

For 'It' , Video, 13 min., Anouk De Clercq (1971, BE) collaborated with artist-photographer Tom Callemin (1991, BE). Their respective artistic views hover in a black-and-white world, in the realm of the scarcely possible and the barely visible, fascinated by what light is able to reveal.

Juuso Noronkoski

2017

Juuso Noronkoski (1983, FI) makes mixed-media installations in which he combines photography, video, sculpture, and text. He experiments with expanding the flatness of photography into the plasticity of a sculptural object or installation.

Toril Johannessen

2017

Audio play, 38:40 min., multichannel playback, stage light, diagram, paper sculptures. Toril Johannessen (1978, NO) engages in methods and source material from ‘specialist fields of knowledge’ such as science, visual perception studies, linguistics, and the occult.

Martine Stig

2017

Study for Profiles (2017) Profiles is a study of the human facial profile, with its characteristic shape that leans on a gaze or camera at eye-level. The human depicted from the human perspective; anthropocentrism at its best.

Martine Stig

2017

In Vertigo I investigate the influence of technological progress on the photographic image. Drones and satellites extend our senses, mobile mapping increases our viewing space. "Eye level" gives way to "machine vision" (or does a hybrid form arise?).

Hiryczuk / Van Oevelen Elodie Hiryczuk Sjoerd van Oevelen

2017

Shadow–Light–Reflection is an ongoing photographic series consisting of diptychs and quatychs. In this series photographic sequences are employed to reconstruct a landscape – for instance a cedar forest or a group of wild mimosa trees – from a multiplicity of viewpoints.

Frank van der Stok

2017

Journalist Senan Molony recently came across an amazing discovery hidden in an attic in England for more then 100 years: a collection of pictures taken of the Titanic by the shipbuilding firm before it left the shipyard.

Martine Stig

2017

Planar, a black & white film, shot from a balcony in Genua, scans the surface of the city. Playing with connotations of surveillance drones and ‘Film Noir’ the long lens seems to act on human presence but follows nobody. 

Martine Stig Elodie Hiryczuk Sjoerd van Oevelen Frank van der Stok Hans Gremmen

2017

On the occasion of our launch we will issue a printed manifesto, designed by Hans Gremmen along with the first RR special editions of work by Hiryczuk/ Van Oevelen, Martine Stig, Stephan Keppel and El Lissitzky. Interview by Daria Tuminas.

Sema Bekirovic

2016

Filmed with a thermal camera we see a hand touching objects in the plaster sculpture depot of the Rijksakademie in Amsterdam. Focusing on the transference of body heat from hands to objects, bringing them into focus as they light up with the heat.

Hiryczuk / Van Oevelen Elodie Hiryczuk Sjoerd van Oevelen

2016

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Taisuke Koyama

2015 - ongoing

This series is a work documenting the input light sources of handheld scanner and flatbed scanner. The crumpled iridescent cellophane is inserted between the two lights to visualize the information of light itself.

Hiryczuk / Van Oevelen Elodie Hiryczuk Sjoerd van Oevelen

2015

The Detached Gaze presents a collection of images and texts Hiryczuk / Van Oevelen have collected during their artistic research over the past 5 years.

Hiryczuk / Van Oevelen Elodie Hiryczuk Sjoerd van Oevelen

2015

From a philosophical point of view the thoughts behind Pangeometry share many resemblances with Eastern concepts in which reality is not exclusively considered from a human perspective.

Hiryczuk / Van Oevelen Elodie Hiryczuk Sjoerd van Oevelen

2014

Photography is generally understood as a means to produce images of reality. The analogy between the optical functioning of the photographic lens and our human eye even makes us believe that photography generates an accurate representation of what we see.

Juuso Noronkoski

2014

Cognitive Shift (2014) [tripod, stone, 1rpm motor, microphone, speakers, HD-video, 1-minute loop. In collaboration with Mikko Rikala (1977, FI)]

Sema Bekirovic

2013

Unfixed analogue photographic prints (80×60cm), framed behind red glass. A photogram is developed but purposely left unfixed, so the print remains sensitive to light.

Tuula Närhinen

2013

Tuula Närhinen (1967, FI) examines the visual potential of natural events. She constructs numerous visual interfaces enabling us to move beyond the obvious and to trace invisible and unimaginable natural phenomena.

Tuula Närhinen

2013

Tuula Närhinen (1967, FI) examines the visual potential of natural events. She constructs numerous visual interfaces enabling us to move beyond the obvious and to trace invisible and unimaginable natural phenomena.

Hiryczuk / Van Oevelen Elodie Hiryczuk Sjoerd van Oevelen

2011

In photographs of nature scenes, geometric figures have been stretched with yellow ropes to mark a space in the landscape.

Hiryczuk / Van Oevelen Elodie Hiryczuk Sjoerd van Oevelen

2005 - 2007

In the series Sceneries the optical perspective of photographic images is manipulated to create a spatial illusion.

Terike Haapoja

2004

The video installation Entropy shows in life size the cooling down of a horse’s body after its death, recorded with an infrared camera. The original recording of 9 hours has been edited to a 25 minutes loop.

Frank van der Stok

1993

Kill our Icons pleas for a rethinking of the iconic photos that are part of our collective memory. Kill our Icons proposes alternative images without apparent iconic value which indirectly tell more pregnant stories than the types of images calling for linear cause-and-effect explanation.

Frank van der Stok

1989

In this Post-Truth era, almost every photograph seems to be speculative by nature.

Frank van der Stok

1981

In this Post-Truth era, almost every photograph seems to be speculative by nature.

Frank van der Stok

1979

Kill our Icons pleas for a rethinking of the iconic photos that are part of our collective memory. Kill our Icons proposes alternative images without apparent iconic value which indirectly tell more pregnant stories than the types of images calling for linear cause-and-effect explanation.

Frank van der Stok

1977–79

Radical Metamorphoses aims at creating unseen and unprecedented insights that may follow from the sequencing of two (or more) images, in which transformations took place overtime.  

Frank van der Stok

1967

A thought photograph by Ted Serios (ca. 1967), taken from the book: ‘Photographs of the Unknown’. Serios claimed the ability to project mental images onto photographic film, sometimes with the lens cap still on and sometimes with no lens at all on the camera.

El Lissitzky

1925

Perspective is nothing but a convention for representing distance, and though the term is sometimes limited to mean the type of projection generally used in the West, it properly includes any and all devices for representing three dimensions in tw …

El Lissitzky

1923

El Lissitzky's somersaulting multiple exposure of himself and several friends in his studio was made in 1923, probably when he was living in Hannover at the invitation of Kurt Schwitters.

El Lissitzky

1919

Collection van Abbemuseum.

Frank van der Stok

1908

Op 1 mei 1909 werd de Nederlandse Tijd ingevoerd. Op zoek naar de vraag hoe dat verwoord wordt in de krant, zocht ik in - nota bene - De Tijd de dag eraan voorafgaande (30-04-1909), maar die werd geheel beheerst door de geboorte van Prinses Juliana.

August Strindberg

1893

Sensitized photographic plates directly exposed to the night sky by August Strindberg. This automated process excludes the viewer (as subject), the lens (as medium), and a concrete motif (as object), but opens new registers of abstract, speculative looking and thinking.

Frank van der Stok

1875

In this Post-Truth era, almost every photograph seems to be speculative by nature.

Frank van der Stok

1515

When Albrecht Dürer produced this woodcut 500 years ago he could never have imagined that it would be cause for the lively debate about the odds at which fact and fiction are now related.

Mustapha Azeroual

Monad: [In Leibniz] A substance that is inanimate, impervious to all external action, but undergoing internal changes internal changes obeying the principles of appetition and perception and which constitutes the last and simplest element of beings and things (v. entelechy)

Benjamin March

The most general criticism aimed at Chinese paintings by Westerners seems to be concerned with the representation of distance, and very often takes the form: Chinese paintings have no perspective. This is, of course, not only untrue, but it is not what the critic meant to say.

Martine Stig

Through a Glass Darkly  (2020, black&white print, framed, screenprint on artglass) is a series of portraits of young girls. Black & white photography combined with coloured stripes and dots -the graphic language used in image recognition technology, grammar of machine vision.

Frank van der Stok

Radical Metamorphoses aims at creating unseen and unprecedented insights that may follow from the sequencing of two (or more) images, in which transformations took place overtime.  

Frank van der Stok

Some paintings and sketches of the late 18th and early19th centuries seemed to anticipate photographic techniques.

Frank van der Stok

Escherichia coli is a bacteria found in the human gut and a “model organism” for scientific research around the world. The variety shown here was genetically engineered to be the first living photographic biofilm.

Frank van der Stok

On the New Siberian Islands in the Arctic Ocean, hunters are searching for the tusks of extinct mammoths. In the thawing permafrost they happen upon an exceptionally well-preserved mammoth carcass, complete with blood and fur.

Frank van der Stok

After they were made public, these pictures forced people in Europe to face what was really happening and, under public pressure, in 1908 Congo was signed over the the Belgian state. It wouldn't gain independence until 1960. The power of these images added largely to put an end to colonial rule.

Frank van der Stok

Radical Metamorphoses aims at creating unseen and unprecedented insights that may follow from the sequencing of two (or more) images, in which transformations took place overtime.  

Frank van der Stok

Kill our Icons pleas for a rethinking of the iconic photos that are part of our collective memory. It proposes alternative images without apparent iconic value which indirectly tell more pregnant stories than the types of images calling for linear cause-and-effect explanation.  

Frank van der Stok

In this Post-Truth era, almost every photograph seems to be speculative by nature.

Frank van der Stok

Louis Daguerre, Boulevard du Temple, is believed to be the earliest photograph of people (1838). Because the image required an exposure time of over ten minutes, all the people, carriages, and other moving things disappear from the scene.

Frank van der Stok

In this Post-Truth era, almost every photograph seems to be speculative by nature.

Frank van der Stok

In this Post-Truth era, almost every photograph seems to be speculative by nature.

Frank van der Stok

Radical Metamorphoses aims at creating unseen and unprecedented insights that may follow from the sequencing of two (or more) images, in which transformations took place overtime.  

Frank van der Stok

Radical Metamorphoses aims at creating unseen and unprecedented insights that may follow from the sequencing of two (or more) images, in which transformations took place overtime.  

Juuso Noronkoski

On To See How the Moon Sees, a lyrical description of a photograph of the Earth taken from the moon unleashes a stream of magic recollections of how it used to be the reverse.

Frank van der Stok

Kill our Icons pleas for a rethinking of the iconic photos that are part of our collective memory. Kill our Icons proposes alternative images without apparent iconic value which indirectly tell more pregnant stories than the types of images calling for linear cause-and-effect explanation.

Frank van der Stok

Radical Metamorphoses aims at creating unseen and unprecedented insights that may follow from the sequencing of two (or more) images, in which transformations took place overtime.

Frank van der Stok

Radical Metamorphoses aims at creating unseen and unprecedented insights that may follow from the sequencing of two (or more) images, in which transformations took place overtime.

Frank van der Stok

In this Post-Truth era, almost every photograph seems to be speculative by nature.

Frank van der Stok

In this Post-Truth era, almost every photograph seems to be speculative by nature.

Frank van der Stok

Radical Metamorphoses aims at creating unseen and unprecedented insights that may follow from the sequencing of two (or more) images, in which transformations took place overtime.  

Frank van der Stok

In this Post-Truth era, almost every photograph seems to be speculative by nature.

Frank van der Stok

Radical Metamorphoses aims at creating unseen and unprecedented insights that may follow from the sequencing of two (or more) images, in which transformations took place overtime.  

Frank van der Stok

Kill our Icons pleas for a rethinking of the iconic photos that are part of our collective memory. It proposes alternative images without apparent iconic value which indirectly tell more pregnant stories than the types of images calling for linear cause-and-effect explanation.  

Frank van der Stok

Radical Metamorphoses aims at creating unseen and unprecedented insights that may follow from the sequencing of two (or more) images, in which transformations took place overtime.