EDUCATION

2016 MFA Goldsmiths, University of London (UK)

2013 BFA Gerrit Rietveld Academie, Amsterdam (NL)

 

EXHIBITIONS / PERFORMANCES

2019 Cosmos Carl at Page Not Found Den Haag (NL)

2019 Set Volcano at Cabaret Voltaire Zurich (CH)

2018 This Way Out (Bond-Ware) at La Plage Paris (FR) ~ Solo

2018 This Site is Under Revolution With Cosmos Carl at Moscow International Biennale for Young Art (RU)

2018 Let’s (L)Arp With Nora Hansen and Grant Moxom at Arp Museum Bahnhof Rolandseck (DE)

2018 This Side Up (Bond-Ware) at Safehouse 1 London (UK)

2018 Vat Notice 702: Works of Art (Bond-Ware) at Changing Room London (UK) ~ Solo

2018 What Happens in Bond, Stays in Bond (Bond-Ware) at Art Rotterdam Prospects and Concepts (NL)

2017 What are you willing to do…? with Nora Hansen at At7 Amsterdam (NL)

2017 The young collector (Bond-Ware) at Facebook Residency F8 Residency ~ Solo

2017 Corporated Culture: Art and the Quasi-Commons at ICA, London (UK)

2017 Movement of Obedience ~ Paperweight with Nora Hansen at DYE house 451, London (UK)

2017 The Artist Talk at South London Gallery, London (UK)

2016 Radio ClearView.ltd at ClearView.ltd, London (UK)

2016 How It All Threads Together at Margate Festival, Margate (UK)

2016 Mama Margaux at PANDO Enclave Lab, London (UK) ~ Solo

2016 In Memoriam of a Past Gallery Life at Goldsmiths Degree Show, London (UK)

2016 STANDBY | Everything You Know About Ducks and Other Noumena at Greenray, London (UK) ~ Solo

2016 6 New Truths (You Didn’t Know) About Ducks and Other Noumena at Greenray, London (UK) ~ Solo

2016 Swag Bag at GOLDSMITHSGALLERY, London (UK) ~ Solo

2015 #Magichour at Area51 and 6PMyourlocaltime, London (UK)

2015 Soft day light-, a clock ticks diligently, into the mirror at GOLDSMITHSGALLERY, London (UK) ~ Solo

2015 Eye Die Spy Resident at Cosmos Carl ~ Solo

2014 NF presents: Vrom Ee toe Bie toe Zie toe Die with NF at P/////akt, Amsterdam (NL)

2014 NF presents: From A to Be to See to D with NF at Kim?, Riga (LV)

2013 Indian Summer with Evita Vasiljeva at Fons Welters, Amsterdam (NL)

2013 The Rock I at Gerrit Rietveld Academie Degree show, Amsterdam (NL)

2013 Brushing a Guinea Pig at Slag op het slaak, Amsterdam (NL)

2013 Detox with Evita Vasiljeva at Rietveld Pavilion, Amsterdam (NL)

2012 Performance For Public at Torpedo Theater, Amsterdam (NL)

2012 Based On a True Story with Evita Vasiljeva at Kafana Box Office, Amsterdam (NL)

2012 Acting Is My Nature at European Exchange Academy, Berlin (DE)

2012 Shortcut at Fatform interlude pt. 1, Amsterdam (NL)

2012 #33 #47 #27 at Wongema, Groningen (NL)

2012 Shortcut at BERM Collectief, Amsterdam (NL)

2011 The Stone Head at Storage Space Exhibition, Amsterdam (NL)

2011 The Stone Head at De Zondvloed, Mechelen (BE)

2011 Spinning three Dadaists in their Grave with Pieke Werner at Aubette, Strasbourg (DE)

 

PROJECTS

2014-2019 Cosmos Carl co-founder and curator of the online platform with Saemundur Thor Helgason

2017-2019 Let’s (L)Arp, performance group with Nora Hansen and Grant Moxom

2016-2017 Chinese European College of Accreditation, co-founder of with Saemundur Thor Helgason

2016 Elevator Pitch, co-founder of networking formula with Saemundur Thor Helgason

2015-2016 GOLDSMITHSGALLERY, director and Founder London (UK)

 

FUNDING

2018 Josine de Bruyn Kops Fonds, Prins Bernhard Cultuurfonds

2016 Werkbijdrage Jong Talent, Mondriaan Fonds

2015 Fundatie van de Vrijvrouwe van Renswoude, Delft

2014 Fundatie van de Vrijvrouwe van Renswoude, Den Haag

2014 Excellent Talent Grant, Prins Bernhard Cultuurfonds

2014 Hendrik Muller Fonds

2014 Bekker la-Bastide Fonds

2013 Amsterdamse Fonds voor de Kunst

 

INTERVIEWS

2019 Artzine Reykjavik

2018 POIUYT Publication, print

2018 MMOMA Moscow International Biennale for Young Art

2018 FanFare Inc. Chapter 2: Tools

2018 VICE Cosmos Carl Allows Artists to Commandeer Amazon and Facebook

2017 AQNB Spreading like a slow virus

2017 AQNB The Rise of Online Residencies in All Their Incarnations

2016 Francesca Gavin Pro’s and Con’s of Online Art

2015 Dazed Digital When art meets digital technology

2015 OFFSOME Issue #2, Post-Internet

2015 I-D Magazine Cosmos Carl

UPCOMING EXHIBITIONS

26th April – 29th June 2019 Cosmos Carl at Banner Repeater London (UK)

Spring 2019 at Gh0stSpace

 

CURATION
Cosmos Carl – Platform Parasite is a platform that hosts nothing but links to online artworks.

 

WEBSITE CREDITS

Design by Gaile Pranckunaite

Code by Mindaugas Ūba

Generously Funded by Josine de Bruyn Kops Fonds Prins Bernhard Cultuurfonds

Aliquam ut porttitor leo a. At lectus urna duis convallis convallis. Varius vel pharetra vel turpis nunc. Sit amet tellus cras adipiscing enim eu turpis egestas. Vitae proin sagittis nisl rhoncus mattis. Phasellus egestas tellus rutrum tellus pellentesque eu tincidunt. Metus dictum at tempor commodo ullamcorper. Eget duis at tellus at. Turpis egestas pretium aenean pharetra magna ac placerat vestibulum lectus. Sed egestas egestas fringilla phasellus faucibus scelerisque eleifend donec.

info@frederiquepissuise.com

In Memoriam of a Past Gallery Life (2016)

In Memoriam of a Past Gallery Life (2016)

Goldsmiths University Degree Show, London (UK)

Interview by VPRO Backlight, Interviewee David E. Weekly, Music by Cinematic Orchestra.

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 a column balancing on a vacuum sealed stack of Frieze Magazines, generously donated in the form of a sponsorship.

This work combines a classical artist, with a self-proclaimed one. The way in which the coder speaks about his coding process is similar to the way artists used, and sometimes still, speak about their practice. The work is part of an installation romanticising art history by ways in which older artists are content to play romantic figures in society.

Due To Realistic Suspicion (2014)

Due To Realistic Suspicion (2014)

P/////akt Amsterdam, 2014

NF presents: Vrom Ee toe Bie toe Zie toe Die with NF

GOLDSMITHSGALLERY (2016)

GOLDSMITHSGALLERY (2016)

A hyperreal gallery project at the campus of Goldsmiths University, with Frieze Magazine sponsorship, a dodgy intern,  and a facebook scandal…

With works by: Andrea Williamson, Anne de Boer, BANK, Helen Knowles, Joseph Ridgeon, Josephine Reisch, Jonathan Clark, Laura Yuile, Madeleinde Stack, Marcel Darienzo, Nora Hansen, Ruth Waters, Shane Mcarthy, Tom Kobialka, Zbong Lee.

This Way Out (2018)

This Way Out (2018)

La Plage, Paris (FR).

Photography by Aurélien Mole.

The site specific installation ‘This Way Out’ is part of an ongoing project about tax evasion in the art world. The Freeport plays an important role in tax evasion where works of art are “temporarily” stored, exempted from Value Added Tax, in climate controlled cells, rented by high-end art dealers and collectors.

In an attempt to enter the otherwise impenetrable concrete art storages, I watched promotional videos posted by the world’s most famous Freeports. The most relatable object inside the polished facilities, were the green little men running for the Emergency Exit. Within a fully automated climate-controlled warehouse, fire of all elements, forms the most catastrophic and irreversible threat and potential destruction of wealth.

In the video the viewer sees dark and empty industrial spaces exemplary for Freeport storage facilities. Human shadows walk in and out of the frame, seemingly unaware of the camera. In the scenes that follow, the viewer witnesses the shades inspecting sculptures and paintings, and the sealing of what seems to be some sort of deal.  

The video is projected on to the gallery window which is covered with a frosted-glass window foil. The frosted glass references the materials inside the Freeport, as well as the Freeport’s quintessential quality of protecting the confidentiality of tax free art sales and storage. Between the scenes, the video dips to black, leaving the viewer with the opaque frosted glass gallery window. The video fades in and out, just like the car headlights passing by on Boulevard Saint-Martin where the gallery is located.

By turning the viewer into an eyewitness of the sketchy activity happening inside the gallery, I tried to transform the space into a crime-scene. The stylistic choices of the video reference film-noir, in which crime is depicted by silhouettes and shadow-play.

Part of Bond-Ware

Podcast #1 Opening Clearview.ltd (2016)

Podcast #1 Opening Clearview.ltd (2016)

Clearview.ltd, London (UK).

This is the podcast #1, especially made during the grand opening of Clearview.ltd, a project space opened in London in 2016.

Set Volcano (2019)

Set Volcano (2019)

Cabaret Voltaire, Zurich (CH).

With special thanks to Youtuber and inspirator @Silentmiaow: https://www.youtube.com/watch?v=JnylM1hI2jc

Music of ‘Sun Storm Alexa (2019)’ by Solarflare via FreeMusicArchive

Elevator Pitch (2016)

Elevator Pitch (2016)

Trailer for Elevator Pitch; a TV series and network formula, broadcasted on YouTube. Acting by styrmir örn guðmundsson, Saemundur Thor Helgason and Frederique Pisuisse.

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.

What Are You Willing To Do… (2017)

What Are You Willing To Do… (2017)

At7 Amsterdam (NL).

In collaboration with Nora Hansen.

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.

Vat Notice 702: Works of Art (2018)

Vat Notice 702: Works of Art (2018)

Changing Room, London (UK).

‘Vat Notice 702: Works of Art’ is work made from the VAT Notices of various European countries in their original language and graphic design. The VAT Notice is an element of the national import legislation which consist usually of definitions to identify works of art. This goes from materials: canvas, bronze, tapestry, to the maximum amount of prints there should be. I made two of these towers with each 12 countries.

Different countries use different definitions at customs to determine what is art. In a way, they compete with each other. Switzerland is one of the most progressive ones: “With the change in social values and the emergence of new technical potential, the artwork constantly takes on different forms”, whereas countries such as the Netherlands maintain an outdated idea about what art nowadays consists of. They are concerned with the hand-made: “Unique ceramic objects which the artist has created entirely by hand”.

All materials used in this exhibition would pass every European border. This can be done under the widely used, but vague import category: ‘Exhibition Materials’ with which a lot of galleries swindle and import artworks as “non-art”. It wouldn’t qualify as art under the regulations of most European customs. The sculptures are made from a custom designed marketing cardboard display units, 5XL workers T-shirts, Fake Ivy, art-handling gloves and rusted chains. 

The title ‘Vat Notice 702: Works of Art’ comes from the page of the Vat Notice of the United Kingdom.

Part of Bond-Ware.

This Side Up (2018)

This Side Up (2018)

Safehouse 1 London (UK).

Part of Bond-Ware.

Soft day light-, a clock ticks diligently, into the mirror (2015)

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 all over campus.

It is your task to mark the works of 49 Master students presenting their work in. No visitor will ever come.

A clock ticks diligently – into the mirror

Movement of Obedience – Paperweight (2017)

Movement of Obedience – Paperweight (2017)

DYE house 451, London (UK). In collaboration with Nora Hansen.

In the tradition of Commedia Della 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.

Commedia Della Arte`s stage set is built permanently into the theatre, allowing the artists to improvise each performance within the constant parameter of character and set. Working with the aesthetic of web shop video, bubble-gum and the ritual of a showcase, Movement of Obedience ~ Paperweight approaches the infrastructure of the space to invite you to try on, play your role, and shed what does not suit.

Mama Margaux (2016)

Mama Margaux (2016)

PANDO Enclave Lab, London (UK). Exhibition structure by Anne de Boer, original sculptures by Rieneke Pisuisse.

For this exhibition I invited my mother to take part in my exhibition with her work as a hobby sculptor. I worked together with her on a site specific installation in the basement of our house.

I wanted to exhibit her work filling it up-to-date according to contemporary art standards, where the sleek installation images are overly edited. In this case, you can see that the images have been overly Photoshopped. You can see that it has gone wrong slightly. Some dimensions are out of proportion and the intensity of the exposure, flattens out the depth of some of the sculptures.

This work is a critique on extensive exhibition texts over-contextualising the work; I fall victim for this as much as everyone. Putting much more weight on the content that actually present, exhibition handouts are often frankly full of shit. For example, in the text, I linked her work to second wave feminism and Donna Haraway, because she makes female figures.

The title is a pun towards the pedestals we used for her work, consisting of bottle racks.

Let’s (L)Arp (2018)

Let’s (L)Arp (2018)

Arp Museum, Bahnhof Rolandseck (DE). Performance in collaboration with Nora Hansen and Grant Moxom.

Reintroducing performance in the Arp Museum that focuses solely on Jean Arp’s (and very little on Sophie Taeuber-Arp’s) sculptures. The poetry, dance and performance based character of both their practices are lost in the collection completely.

We wrote wedding speeches for Hans and Sophie, arguing that a wedding is a moment of reflection in a person’s life. Dressed up as wedding guests, we walked different routes through the (very large) museum, clinking a glass, and speaking to the museum audience as if they were the wedding guests of the Arp wedding.

One speech is written from the perspective of fellow dadaist Hannah Höch talking about feminism of that time. All speeches contain verbatim texts of the poetry of Hans in both English and German.

What Happens in Bond, Stays in Bond (2018)

What Happens in Bond, Stays in Bond (2018)

Commissioned by POIUYT for UNSEEN Photography fair (2016)

Art Rotterdam – Prospects and Concepts (2017). 

‘What happens in Bond, Stays in Bond’ premiered at UNSEEN photography fair as a performance. In the context of an art fair, the interview explores the role of the art object within an unregulated art market. The interview was broadcasted live from the fair, and the documentation of it is available as a podcast.

‘What happens in Bond, Stays in Bond’ exists also as video. Bond-Ware is a project about tax evasion and ways in which the art object is instrumentalized through infrastructures of tax evasion. The work investigates and speculates upon alternative functions and valuation of art, under the circumstance of dirty shippers, freeports and offshore finance.

Both the performance and the video consist of a whistleblowing interview between fictive character Richard, a former gallery director played by my father, and myself. The text of the interview is based on real interviews I did with big players from the London art world that want to remain anonymous.

In one of the scenes Richard describes the way in which he used to help his clientele to tax evade with the exchange of originals and replicas: “You tell the Freeport: ‘You think you have the original, but actually you have a replica in the warehouse, and we need to swap them. So, you take out the original and replace it with a replica”. This way, the replica stays in the warehouse and the original was taken out of the freeport without paying any VAT.

Part of Bond-Ware.

The Artist Talk (2017)

The Artist Talk (2017)

South London Gallery (UK). Invited by Cédric Fauq, part of The Conch.

This is a reading performance of the script of ‘The Artist Talk’. It was performed at the South London Gallery. The script is based on a text written by Nathalie Boobis , a curator I’ve worked with. The text about my practice includes background information about my work, stories I have told her, and references I have been using.

The script of the play is projected on the back wall, and forms the set design. Together with ‘the Audience’, ‘the Artist’ reads through the script that contextualises my practice. Everyone had found a copy of the script on their chair. They were scripted to say things they might not agree with, but were taken by the hand to behave as my perfect audience. Emotions such as laughter and surprise, were scripted and performed communally. Various audience members, such as the writer of the text and the curator of the South London Gallery, had a special role: complimenting my work, or critiquing the performance.

In the image the script starts melting from the wall behind me after taking of my long black dress covering my white outfit. I push the script up with my hands.

6 New Truths (You Didn’t Know) About Ducks and Other Noumena (2016)

6 New Truths (You Didn’t Know) About Ducks and Other Noumena (2016)

Greenray, London (UK)

‘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, ready-mades 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. The sculptures traveled down to the main exhibition hall later on.