Vat Notice 702: Works of Art 2018 Changing Room London (UK) run by Rosa Doornenbal and Marios Stamatis
'Vat Notice 702: Works of Art' is a 3-channel video installation with videos comprised of the VAT Notices of various European countries in their original language. The VAT Notice is an element of national importation legislation consisting of lists of definitions to identify Works of Art.
Different countries use different definitions to determain art. Switserland is one of the most progressive ones with sections saying "Contemporary art can be almost anything today", whereas other countries maintain an outdated idea about what contemporary art means. The United Kingdom for example applies a definition that is concerned with the idea of authenticity and the hand-made.
'Vat Notice 702: Works of Art' is part of the project 'Bond-Ware'.
What happens in Bond, Stays in Bond 2018 at Art Rotterdam (NL) and Prospects and Concepts. Images by Josephine Baan. Length video: 6'30, Length lecture performance: 27'59
'What happens in Bond, Stays in Bond' is a video about tax evasion and ways in which the art object is instrumentalised throughout infrastructures of tax evasion. The project investigates and speculates upon alternative function and valuation of art, under the circumstance of dirty shippers, freeports and offshore finance.
In 'What happens in Bond, Stays in Bond' consists of a whistleblowing interview between Frederique and the fictive character of a former gallery director comprised of multiple interviews with anonimous sources about the way he used to help his clientele to evade tax with the exchange of originals and replica's in and out freeports.
During Art Rotterdam, Frederique gave a lecture about freeports and tax evasion with musical interventions by Nora Hansen (right image).
'What happens in Bond, Stays in Bond' is part of the project 'Bond-Ware'.
Bond-Ware is a project about tax evasion and ways in which the art object is instrumentalised throughout infrastructures of tax evasion. The project investigates and speculates upon alternative function and valuation of art, under the circumstance of dirty shippers, freeports and offshore finance.
Bond-Ware premiered at UNSEEN with a whistleblowing interview between Frederique and the fictive character of a former gallery director comprised of multiple interviews about the way he used to help his clientele to evade tax with the exchange of originals and replica's in and out freeports. In the context of an art fair, the interview explores the role of the art object within the unregulated art market.
'Bond-Ware' is part of the project 'Bond-Ware'.
What are you willing to do...?, 2017, with Nora Hansen at at7, Amsterdam, NL
Inspired by the tradition of Nordic Larping, a form of Live Action Role Playing with a high level of character, set and emotional immersion, Frederique Pisuisse and Nora Hansen are creating a LARP, that explores the potential power of agreed upon illusions. The potential power of this form of larping lies in the long term effect on the players and their changing relation with the set and props.
Part of the LARP evening was an investigation into audience participation. The evening consisted of a fixed timeline full of short performances of traditional ceremonies of Western Christian culture such as; the celebration of a birthday (with hats, cake, singing and candle-blowing with wish), a party with DJ/VJ, a Sinterklaas (and designated helpers), getting ready for a wedding (putting up wedding chair covers) for example. The wedding situation was used as a set for a Lecture Musical about Freeports, with acapella interventions by Nora. Another performance piece was a guided conversation about the symbolism of the objects with the audience.
There was also a makeup artist. To initiate the visitors as active players. One could choose between playing, and thus participating in the LARP, or 'Ghosting'. In case the visitor would choose to continue as ghost; they would stay outside the LARP, but they would have to wear Ghost makeup.
Movement of Obedience ~ Paperweight 2017 in collaboration with Nora Hansen at DYE house 451 London. Images by DYE house 451. London (UK)
In the tradition of Commedia Dell’Arte, a form of 17th century Italian theatre characterized by a finite set of masked types and iconic costumes, Nora and Frederique designed outfits exploring the roles of Gallerist, Artist, Intern and Spectator. Clothed in contemporary textures and traditional fabrics, the cast of Paperweight is surrounded by a landscape of video and sculpture - a possible backdrop for this play.
Visitors were initiated into their role of visitor by wearing a choker, try on the artist outfit and encouraged to get their makeup done by a make-up artist to enhance their given role.
The artist costumes consists of a white-cube-like blouse with and a rigid harness. The intern outfit consists of a transparent vest, and the gallerist outfit consists of a velvet tracksuit-bottom and sweater. During the opening, ephemeral drawings could be made on the the sweater by moving over the velvet against the 'pile', using the finger as a pencil.
On the image you see an impression of the video screen sculptures, the materiality and the way the costumes were hung on them after the opening for the duration of the exhibition.
Reading of the script of the play 'The Artist Talk'. Performed during a crit session at the South London Gallery open for the general public. The script is based on a text about Frederique's practice, written by Nathalie Boobis for this occasion.
The script of the play ‘The Artist Talk’ is projected on the wall behind ‘The Artist’ and forms a set. Together with ‘The Audience’, 'The Artist' reads through the script that contextualises her practice. Different audience members have a special role. Emotions such as laughter and surprise are scripted.
Take a look at the script HERE
Radio ClearView.ltd Podcast 2016 ClearView.ltd London (UK)
Performance and podcast with interviews, music and impression of the event for the opening event of ClearView.ltd, a project space in Tottenham Hale, London.
'Radio ClearView.ltd Podcast' was foremost a performance at the opening space as a reporter: intrusively asking questions to the audience and the artists that were participating in the group show. The content of the podcast was determined by the answers and interaction with the audience and touched upon many contemporary subjects such as: gentrification, sexism, having your first solo show, spectacle and non spectacle performance, Venice Biennale, fashion, materials, gender, getting drunk on an opening, knowing an artist from Instagram and many other subjects.
Mama Margaux | Rieneke and Frederique Pisuisse 2016 PANDO Enclave Lab. Exhibition structure Ecksenis by Anne de Boer. London (UK)
For this exhibition Pando has invited mother and daughter Pisuisse to form a collaborative duo. Departing from the female body, one body gave birth to the other, the duo worked together on a site specific installation in the wine cellar in France.
Growing up during the ‘Second Wave’ of feminism, Rieneke Pisuisse connects with artists like Barbara Hepworth and Eva Hesse; dealing with the female body, ideas of domesticity, and personal experience, without necessarily explicitly identifying with feminism as such. During later years, she focusses more on postmodern theory within her sculptures.
For the exhibition, Rieneke has taken her visual cues from the examination of the body in a mere intellectually withdrawn manner. Her statues, naked, and carved out of different kinds of stone, convey an immediate message to the viewer; unequivocally connecting the work to the personal space of the artist. Lucy Lippard said, “When women use their own bodies in their artwork, they are using themselves; a significant psychological factor converts these bodies or faces from object to subject.”
Frederique Pisuisse, expands the definition of her mother’s feminism as she is fundamentally Rieneke’s proxy in the physical and behavioural sense – representing her mother in the world. Departing from the sculptures of her mother, she edits and reproduces the work, filling it up-to-date according to contemporary art standards.
In Memoriam of a Past Gallery Life 2016 GOLDSMITHSGALLERY Goldsmiths Degree Show. London (UK) Images by Rebecca Lennon
The decorated and glossy white painted 'gallery collumns' carry the title: In Memorial for a Past Gallery Life. It recalls a history of grandeur, which has crumbled down with neo-liberalism. It is the literal upholding towards a future that shows nothing but melancholia for the past.
How it all Threads Together 2016 (Length: 26'30) Interview by VPRO Backlight, Intervewee David E. Weekly, Music by Cinematic Orchestra. London (UK)
In the video which is hold up by a re-imagination of a Henry Moore sculpture, David E. Weekly, production manager at Google, explains the moment of going into a so called flow-state: a mental state that highly skilled programmers can reach while imagining a complex set of coding by arranging various databases and visual outputs in their mind.
The hand gestures of the programmer start to draw a complex pink shape, by motion tracking his index finger. The outcome of his gestures forms the outlines of a laser cut Perspex sculpture which is supported by one of the 'gallery collumns' balancing on a vacuum sealed stack of Frieze Magazines, generously donated to the gallery in the form of a sponsorship.
GOLDSMITHSGALLERY, was founded by Frederique in 2015. It is the artist’s response to the current controversial planning of a gallery on the campus of Goldsmiths, by the head of the Fine Art department. The domain name www.goldsmithsgallery.co.uk is for sale for £16,200; reclaiming Goldsmiths as a support structure for its students. Find more infor about the project here.
GOLDSMITHSGALLERY Auction 2016 part of In Memoriam of a Past Gallery Life GOLDSMITHSGALLERY Goldsmiths Degree Show. Auctioneer Jeremy Jacobs, Documentation by Iain Clark. London (UK)
Auctioneer Jeremy Jacobs sold 5 out of 14 available lots, revealing the uncomfortability of publicly selling art works ‘out in the open’, and made the audience look at the artworks as commodities. An auction exposes the mechanisms of affirmative desire; an apparent factor in the art world which is based on trust and confirmation.
The lots were provided by all 14 artists that exhibited at GOLDSMITHSGALLERY since its establishment early 2015. The works of the following artists were auctioned: Andrea Williamson, Anne de Boer, Helen Knowles, Jonathan Clark, Josefine Reisch, Laura Yuile, Madeleine Stack, Marcel Darienzo, Joe Ridgeon, Nora Hansen, Ruth Waters, Shane McCarthy, Tom Kobialka, Zbong Lee.
6 New Truths (You Didn't Know) About Ducks and Other Noumena 2016 Greenray London (UK) Part I of the exhibition series at Greenray.
‘If it looks like a duck, swims like a duck, and quacks like a duck, then it probably is a duck’ is a statement used to explain how we categorise and identify things using ‘abductive reasoning’.
How can objects change their meaning and identity according to their context. Are they sculptures, objects, readymades or props? Does art have an inherent meaning, or is meaning-giving is a process in itself?
The objects exist as sculptures at the mezzanine of Greenray until activated by various performances, events and rules.
STANDBY | Everything You Know About Ducks and Other Noumena 2016 Greenray London (UK)
Toolbox for presentation. Part II of the exhibition series at Greenray.
Swag Bag 2016 GOLDSMITHSGALLERY London (UK)
The objects from the installation are informed by the expectation of the viewer which most certainly expects to see art in a gallery. The work includes a presentational performance, soundpiece and discussion.
Elevator Pitch 2016, in collaboration with Saemundur Thor Helgason. Acting by styrmir örn guðmundsson, Saemundur Thor Helgason, Frederique Pisuisse. YouTube
Trailer for Elevator Pitch; a TV series and network formula, broadcasted on YouTube.
Five artists and five curators meet each other in the elevator of a skyscraper. They pitch their work and practice to each other and at the same time share their ideas with the rest of the world. Each individual pitch will last around 30 - 60 seconds, depending on the height of the building.
Soft day light-, a clock ticks diligently, into the mirror 2015 GOLDSMITHSGALLERY London (UK)
Imagine yourself as an art school teacher. It is early June and soft day light leaves unwanted traces on white walls everywhere on campus.
It is your task to mark the works of 49 Master students presenting their work in a set-up; no visitor will ever come.
A clock ticks diligently _ into the mirror
Alanis Morissette – Citizen of the Planet (OFFICIAL MUSIC VIDEO) 2015, YouTube
This video is a reimagining of the installation Soft day light- a clock ticks diligently - into the mirror. The music video features three sphere which depicts a distorted view of three of my favorite video’s: A Minute Ago by Rachel Rose 2014, Fiorucci made me Hardcore by Mark Leckey 1999, and Forecast by Anne de Vries 2012.
The work is uploaded as an official music video for the 2008 song Citizen of the Planet by Alanis Morisette. Frederique has been given permission by the management to use Alanis' music. People that search for the song on YouTube watch 21 seconds longer than the viewers forwarded through the artists website.
#Film #VHS #Digitalzoom #GoPro #Drone 2015 Area51 Curated by Angles Miralda Tena, London (UK)
This video was made for an event called #Magichour. #Magichour was part of the European event 6PM Your Local Time. Documented under #6PMEU. The #Magichour event took place from 6-9pm, during sunset. It is a 3 hour compilation video of surf footage in different (outdated) formats. The various camera devices each highlight different aspects of surfing.
Due to Realistic Suspicion 2014 Pakt Amsterdam (NL)
A video challenging the attention span of the viewer. In between the dream-like scenes depicting floating objects and symbols, long empty scenes occur, sometimes black, sometimes fading from one color to the other.
The video, is especially made for the situation of the opening of a group show; where the viewer only has a so much time to watch a video before being interrupted by a friend. The sound and image are not synchronised, resulting in what seems to be a very long video; not recognizable as loop.
Hands on Hands, Snap! 2013 Kim? Riga (LV)
The three vinyl blob-sculptures of the installation were originally short videos. Despite the transformation to sculpture they kept an important quality of the moving image; time, as they deflate slowly during the day. They are a slow motion GIF.
The floor projection functions as a spacious timeline. The single image changes colour from blue to green in the timespan of 75 minutes; the maximum length the dvd it is played from can store.