ARCHIVE OF WORKS
(not complete)

old and new videoworks, installations. 00.07.44 - 01.32.00: 'Amsterdam Walk' 1. 'Amsterdam walk' (1999) Normally I choose my own images, but for this film I followed a guide (asked for an artists project during the Unlimited.nl/2 exhibition in De Appel) for 80 minutes and followed exactly with my camera how he walked and talked and when he stood still I stood still, looking around a little bit. I filmed in one single shot, starting in front of De Appel in Amsterdam and ending in a cafeteria, where the camera is standing on a table with a close-up to my body while eating a hamburger. This work raises questions about how important is the way I look and what is the difference between information given by somebody else or chosen by myself and what are 'outside' / 'inside' influences and what are they doing with me? Who tells me how and where to move in a city? 01.32.42 - 02.24.19: 'Williamsburgbridge' (for cable tv P.A.R.K.4dtv) 2. 'Williamsburg bridge' (1994) I walked over the Williamsburgbridge between the end of the day and the beginning of the evening and asked a friend to shoot this walk. Everything is important in this film. The sound, the images, the structure of the bridge. The way of filming. The difference between light and dark. Day or night. The different uses of the bridge (walking, bikes, cars and subway). duration 50 minutes. 02.24.21 - 02.36.59: 'Schuiven' (for cable tv P.A.R.K.4dtv) 3. 'Schuiven' (1992) For this work I filmed a set of models, which I used in that time for my thinking about cityscapes. For me it was interesting to see the difference of time and shape and motion in those cityscapes. Therefore I filmed these models while I slowly moved them around. Not myself was wandering around in the city, but the city was wandering around me! original duration about 50 minutes 02.36.59 - 02.52 (end of tape): 'Malen' (for cable tv P.A.R.K.4dtv) 4. 'Malen' (1992) Often I can think and think for hours, without any reason or result. We call that in Holland 'malen'. It can drive you crazy, but it has its own beauty and reason. In this work I use this and show it as 2 objects above each other and going endlessly from one side to the other and making a terrible noise. The objects are 2 models of 'abstract' buildings from my set of city scape models. They drove me crazy at that time. original duration about 50 minutes 5. 'No Way Out' (1998) No Way Out lasting 50 minutes is a walk through the midtown district of Manhattan, filmed in one single shot and the camera is filming the way I walk, look and see around me. It is about my physical absence in the image, but presence in the movements. (And sometimes a glimpse in a mirror). This film I used , combined with 4 slide projectors with 88 slides each and a moving bar of texts by Paul Auster from New York Trilogy about the walking through the city) 6. 'Round the block' (1999) Round the block is a video installation with 6 images at one time projected against the wall. Total duration is 4 .15 minutes (average time to walk around a block in the neighborhood of Hudson street). I filmed around 6 different blocks in New York in 6 different ways. 1. going left shooting around the block. 2. going right shooting around the block. 3. going around the block shooting in the air. 4. going around the block shooting the ground and my walking feet. 5. going around the block shooting in front of me. 6. going round the block shooting behind me. So 6 different positions. Like a ballet about my concerns with the physical presence of a block, a structure, a building and about my presence in the film (shaking of the camera because of the walking). You don't see me actually, but i am there. and my presence in the streets, the walking. 7. 'Queensborobridge' (1999) Made in 2 shots walking over the Queensborobridge, using the way of walking and looking around. I filmed mostly but while I made photographs I gave the camera, while it kept running, to Hans Eijkelboom. And let him shoot further. In this film I am interested in the differences between myself and Hans- his way of looking, searching etc.- and if there are differences between the material at the end. Because of the batteries running out, I had to stop the camera one time to change batteries. duration about 60 minutes. 8. 'To the waterfront' (1999) To the waterfront is a film of my walk (in one single shot) starting in the apartment, walking through the hallways and entrance, through some streets to the waterfront and the way back. This simple 'story' tells about the differences in experiences of inside, outside, going up, going down, the land and the water (concrete and liquid) about time and going away and coming back. duration about 15 minutes. 9. 'Circle' (1999) Circle is filmed from an apartment building on New York's upper east side from the 36th floor and it follows people on the street to the left, going up slowly along all the buildings visible from the balcony, going down to the street again picking again some people and following them to my starting point. Duration about 30 minutes. 'a visit in New York' and 'In to the night is coming later Installations: 'THE OFFICE' (1984). In Gallery the Gele Rijder in Arnhem I made an installation with big photographs and office supplies with 4 clerks typing my diaries of New York on their typing machines . This work was there for 8 hours, a normal day for an office. The ladies who where typing were dressed well and smelled of perfume. There was art hanging on the wall (my own art). I walked around like a typically dressed manager, giving orders, making jokes, talking about work etc. The big photographs were streetscenes made in New York, put in a frame with plants in front of it, like in a normal office. This work relates to various questions like who are working in all those office buildings. Who decided about my life and how i move, walk, etc. What is the typical structure in those buildings? What is my involvement there? I was invited for a festival about the city in the city of Arnhem and chose the office as an artwork itself. This installation/performance has a duration of 8 hours. Every detail was important. The sound of the machines, the talking of the ladies, the smell, the light, the art. 'WORKS OF A CITY' (1983). In the municipal museum of Arnhem, a big installation with photographs, books, bookshelves and silkscreens. This installation took place in a smaller room of the museum, between 2 larger rooms. I made a kind of throughway, with windows (big photographs) and shelves (like in a library), filled with 'fake' books. These books were made of cartons mounted with photocopies of cities etc. Under these shelves and in between the 'windows' I hung silkscreens and collages about the city. This installation took part as a presentation for my first printed book: 'Works of a City' (1983). This book, completed in silkscreen, was built by diary fragments and images of streetscenes in New York. The book and the installation were about walking through a city. This book and this installation were one of my earliest works completely involving the city itself. 'STATION' (1985). In Kassel, Germany. I made an installation with 6 subway columns with photograph silkscreens on it; combined with 6 wooden books, hanging on the wall with painted photographs. These columns were made exactly as the real ones. On the lower parts on both sides 2 silkscreens printed about the situation on street level. The wooden books on the wall had each 2 pages folded open. There were 6 books and the left page was a photograph made in Berlin, on the right page a photograph made in New York. All the books had the same photographs on the left and right side, but in book 1 everything was painted with white paint except for the houses. In book 2 everything was painted with white paint except for the office buildings. In book 3 everything was painted with white paint except for the air and so on. In this combined work there were a lot of questions raised by me, such as: Riding through the underground and realizing the city above, what is happening there? etc. What is the structure of the city? What is my 'state of mind' during riding these lines and comparing underground and above. What makes a city? Is it the air or the people. Is it the buildings or factories. What is special about a city, without knowing about special type of buildings like the Empire State in New York or Das Museum Viertel in Berlin? Are there any political movements and differences visible between these two cities and are cities the same? Already at that time my interests were located on the usual, not on the images we all know or think to know. There was a lot to imagine in this work, made for the Kasseler kunstverein. 'WORLD TRADE BELVEDERE'(1985). On the top floor of a tower in Arnhem I constructed 4 big photographs (4x7 feet), so that the people who expect to see the surroundings of Arnhem were confronted with the view of the World Trade Center in New York. 'NO WAY OUT' (1998). Besides the film, this was a project made by myself and Hans Eijkelboom for an installation in a discotheque in Arnhem. During 2 weeks the dancehall was using 4 slide projectors around the dancing people, video and texts. On the slides were cityscapes, streetscenes, working people, walking people, people standing in the street phoning, business people etc.

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