2025
Group exhibition: Still Glasgow, at Gallery of Modern Art Glasgow, Scotland (UK)
What’s It to You? by Stansfield/Hooykaas
Still Glasgow, a group exhibition with work by photographers such as Bert Hardy, Oscar Marzaroli, Jane Evelyn Atwood, Patricia MacDonald, David Eustace and Joseph McKenzie are shown alongside works by artists Stansfield/Hooykaas, Matthew Arthur Williams, Roderick Buchanan and Iseult Timmermans.
Link to exhibition: https://www.glasgowlife.org.uk/event/1/still-glasgow
29 November 2025 till Sunday 13th of June 2026
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Exhibition: When the world went out of tune with itself, at Forum Freies Theater Düsseldorf part of Approximation Festival, Düsseldorf (DE)
When the world went out of tune with itself (freely adapted from Delia Derbyshire, „Als die Welt aus dem Takt geriet“ in German) at Forum Freies Theater Düsseldorf part of Approximation Festival with several films en videos by Hooykaas/Stansfield and Madelon Hooykaas and a panel discussion organized by Intermedia Media Art Institute, Düsseldorf, (DE)
Link to the exhibition and concerts
27-29 of November 2025
Panel discussion with Madelon Hooykaas on the 27th of November
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10th anniversary of Delia Derbyshire Day 2025, Manchester (UK)
Electronic Sound Past, Present and Future: Delia Derbyshire Day 2025
Sat 22 November, 2-4pm, Manchester Central Library, FREE
This year’s Delia Derbyshire Day Manchester event, on 22 November (the library is closed on Sundays), is centred around the 10th anniversary of Delia Derbyshire Day as a registered charity. Our amazing team of younger volunteers for 2025 have designed an afternoon of activities to celebrate the heritage connected with this electronic music charity.
Including:
3pm – Screening of ‘Daydreams’ (1972, 8 mins) – Delia Derbyshire composed the soundtrack for this experimental short film by Madelon Hooykaas and Elsa Stansfield. The film will be introduced by Madelon Hooykaas herself!
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Verbeeldingsroute 2025: Scheldeboulevard
Wanneer: 20 juli t/m 14 september 2025
Openingstijden: van zonsopgang tot zonsondergang
De Verbeeldingsroute is sinds 2000 een jaarlijks terugkerende kunstmanifestatie op de Scheldeboulevard in Terneuzen. Gedurende de zomermaanden trekt de route duizenden bezoekers.
Strandstoel (2001) door Stansfield/Hooykaas
Link naar webpagina over de Strandstoel
Link naar informatie over de route
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Group exhibition: Selfportrait / Femlink, Listas Afnarnesinga Museum in Hveragerdi, Iceland
From July 19th to August 24th
SELF PORTRAIT 34 videos – 43 min – 2025
Including No Self (2019) from Madelon Hooykaas
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Exhibition: 494h 29m 53s, Neuer Berliner Kunstverein/Akademie der Künste, Berlin (DE)
Akademie der Künste, Hanseatenweg 10, 10557 Berlin
The collection of the n.b.k. Video-Forum sorted by running time by Karin Sander.
July 4 till August 2, 2025
An exhibition of the Akademie der Künste in cooperation with the n.b.k.
Concept: Karin Sander
Curators: Marius Babias, Anna Lena Seiser
Project management: Anke Hervol, Daniela Ihrig, Arkadij Koscheew
Karin Sander’s project 494h 29m 53s comprises 1,254 videos from the Video-Forum collection at the Neuer Berliner Kunstverein (n.b.k.), sorted by running time. The videos, by 574 different artists and artist collectives, will be sorted by time from the shortest to the longest—in a 494-hour screening. The Studio programme follows a defined structure—with 12-hour screenings on weekdays and 24-hour screenings at the weekend—that will take place over 31 days starting on 3 July 2025, 7pm.
Founded in 1971 on the initiative of artists and cultural creators, the n.b.k. Video-Forum is the oldest video art collection in Germany and one of the largest. The collection is particularly focused on the Fluxus art movement, feminist video practice, historical and contemporary video art from Berlin, and media-reflective approaches. The artist Karin Sander restages the collection in its entirety and presents it as “great cinema” at the Akademie der Künste. A summer bar at the Akademie der Künste is available for drinks and snacks.
Artists
(e.) Twin Gabriel, Endre Aalrust, Marina Abramović, Vito Acconci, Dan Acostioaei, Yalda Afsah, Eija-Liisa Ahtila, Nevin Aladağ, Bettina Allamoda, Dave Allen, Max Almy, Halil Altındere, Maria Thereza Alves, Kenneth Anger, Farm Ant, Dieter Appelt, Claudia Aravena Abughosh, Thomas Arnold, Thomas Arslan, Marc Aschenbrenner, Robert Ashley, Tekla Aslanishvili, Charles Atlas, Dario Azzellini, Caroline Bachmann, Hanno Baethe, Cornelia Balcerowiak, John Baldessari, Thomas Balzer, Stefan Banz, Heike Baranowsky, Rosa Barba, Matthew Barney, Yael Bartana, Irit Batsry, Denis Beaubois, Breda Beban, Sandra Becker 01, Zanny Begg, Gerd Belz, Anca Benera, Lynda Benglis, Joseph Beuys, Michael Bielicky, Ursula Biemann, Christian Bilger, Dara Birnbaum, Pierre Bismuth, Hartmut Bitomsky, Claus Blume, Florin Bobu, John Bock, Gábor Bódy, Hella Böhm, Claus Böhmler, Pauline Boudry, Arno Brandlhuber, Geta Brătescu, Hans Breder, KP Brehmer, Candice Breitz, Ben Brix, Michel de Broin, Laura Bruce, Klaus vom Bruch, Wojciech Bruszewski, Rick Buckley, Michaela Buescher, Egon Bunne, Michael Busch, Frieder Butzmann, Pash Buzari, Robert Cahen, Rui Calçada Bastos, Peter Callas, Peter Campus, Miguel-Ángel Cárdenas, Filipa César, Alejandro Cesarco, Olga Chernysheva, Anetta Mona Chişa, Claude Closky, Gerd Conradt, Eduard Constantin, Eli Cortiñas, Chris Cunningham & Aphex Twin / Autechre / Björk / Leftfield / Madonna / Portishead / Squarepusher, Kajsa Dahlberg, Kiri Dalena, Lutz Dammbeck, Călin Dan, Anna Daučíková, Douglas Davis, Constance DeJong, Ivo Deković, Dellbrügge de Moll, Milovan Destil Marković, Die Tödliche Doris, Discoteca Flaming Star, Christoph Doering, Christine Domkowski, Christoph Draeger, Christoph Dreher, Margarete Dreher, Arnold Dreyblatt, Jimmie Durham, Antje Ehmann, Maria Eichhorn, Dominic Eichler, Ed Emshwiller, Jakobine Engel, Antje Engelmann, Brian Eno, Shakram Entekhabi, Annika Eriksson, Ayşe Erkmen, Theo Eshetu, Samira Eskandarfar, Arnold Estefan, Assaf (Safy) Etiel, Eva & Adele, VALIE EXPORT, Andrea Faciu, Loretta Fahrenholz, Christian Falsnaes, Harun Farocki, Mounir Fatmi, Heike-Melba Fendel, Sophie Fiennes, Gertrud Fischbacher, Nina Fischer / Maroan el Sani, Peter Fischli & David Weiss, Kit Fitzgerald, Terry Flaxton, Sven Flechsenhar, Sylvie Fleury, Elise Florenty, Terry Fox, FRANEK, Hermine Freed, Hanna Frenzel, Adib Fricke, Monika Funke Stern, Giorgi Gago Gagoshidze, Dani Gal, Paul Garrin, Michael Geißler, Elio Gelmini, Thierry Geoffroy (Colonel), Patrycja German, Knut Gerwers, Jochen Gerz, Sista Ginseng, Christoph Girardet, Matthias Glatzel, Niklas Goldbach, Undine Goldberg, Francis Gomila, Dan Graham, Walter Gramming, Franz Gratwohl, Keith Griffiths, Johan Grimonprez, Sabine Groß, Asta Gröting, Bettina Gruber, Gruppe NON, Guerilla Architects, Marie-Ange Guilleminot, Jean-François Guiton, Ingo Günther, Ernest Gusella, Gudrun Gut, Akiko Hada, Alexander Hahn, Richard Hamilton, Jan Peter Hammer, Gusztáv Hámos, Angela Hanke-Wahls, Uli Happe, Mona Hatoum, Ron Hays, Astrid Heibach, Mathilde ter Heijne, Anna Heine, Barbara Heinisch, Matthis Heinzmann, Mike Hentz, Gary Hill, Hans Hirschmüller, K.H. Hödicke, Nancy Hold, Carsten Höller, Kerstin Honeit, Nan Hoover, Madelon Hooykaas, Judith Hopf, Laura Horelli, Rebecca Horn, Hrvoje Horvatić, Manfred Hulverscheidt, Mwangi Hutter, Taka Iimura, Sanja Iveković, Mogens Jacobsen, Hartmut Jahn, Christian Jankowski, Kirsten Johannsen, Patrick Jolley, Joan Jonas, Anne Jud, Mauricio Kagel, Wolf Kahlen, Istvan Kantor (aka Monty Cantsin? aka Amen!), Thomas Kapielski, Allan Kaprow, Kain Karawahn, Thomas Kiesel, Dieter Kiessling, Vika Kirchenbauer, Silvia Kirchhof, Knut Klaßen, Jürgen Klauke, Axel Klepsch, Michael Klier, Werner Klotz, Imi Knoebel, Daniel Knorr, Andreas Koch, Takehito Koganezawa, Andreas Köpnick, Korpys / Löffler, David Krippendorff, Gunter Krüger, Uwe Krupka, Käthe Kruse, Shigeko Kubota, Betina Kuntzsch, Thomas Kutschker, Alicja Kwade, Joëlle de La Casinière, Sabrina Labis, Richard (Dickie) Landry, David Larcher, Diego M. Lascano, Maria Lassnig, Peter Leake, Barbara Leisgen Michael Leisgen, Zilla Leutenegger, Les Levine, Roman Liebe, Armin Linke, Ninon Liotet, Ardele Lister, Llurex Video (Egon Bunne), Katarina Löfström, Renate Lorenz, Antal Lux, M. Raskin Stichting Ens., Georg Maas, Chris Marker, Norbert Meissner, Bjørn Melhus, Angela Melitopoulos, Karolin Meunier, Eva Meyer, John Miller, Antoni Miralda, Una H. Moehrke, Domingo Molina Cortés, Regina Möller, Ingrid Molnar, Raphael Montañez Ortiz, Eléonore de Montesquiou, Hiroharu Mori, Frédéric Moser, Rabih Mroué, Mudances, Heiner Mühlenbrock, Antonio Muntadas, Ciprian Mureşan, Ko Nakajima, Marina Naprushkina, Zoran Naskovski, Bruce Nauman, Trine Lise Nedreaas, Hajnal Németh, Marcel Odenbach, Pınar Öğrenci, Claes Oldenburg, Ingrid Oppenheim, Ann Oren, Tanja Ostojić, Ulrike Ottinger, Tony Oursler ,Trevor Paglen, Nam June Paik, Charlemagne Palestine, Stefan Panhans, Eduardo Paolozzi, Rotraut Pape, Ludwig Papenberg, Ulrich Papenberg, Pallavi Paul, Kristina Paustian, Sharon Paz, Jens Pecho, Hila Peleg, Ricardo Peredo, Lia Perjovschi, Friederike Pezold, Daniel Pflumm, Lil Picard, Piratskoe Televidenie / Pirate TV (PTV), Alexandra Pirici, Fabrizio Plessi, Laura Poitras, Daniel Poller, Kurt Raab, Beate Rathke, Daniel (Dan) Reeves, Oliver Ressler, Reynold Reynolds, Mykola Ridnyi, Pipilotti Rist, Klaus Ritterbusch, Józef Robakowski, Ugo Rondinone, Ulrike Rosenbach, Fried Rosenstock, Benet Rossell, Christopher Roth, Constanze Ruhm, Natascha Sadr Haghighian, John Sanborn, Karin Sander, Katya Sander, Larissa Sansour, Stefan Sava, Eran Schaerf, Sandra Schäfer, Peter Scharf, Eric Schefter, Les Schließer, Erik Schmidt, Tomas Schmit, Thomas Schmitt, Ira Schneider, Corinna Schnitt, Lydia Schouten, Volker Schreiner, Walter Schröder-Limmer, Schroeter & Berger, Oliver Schulbaum, Anne Schülke, Maya Schweizer, James Scott, Bill Seaman, Ginan Seidl, Felicitas Senders, Maria Serebriakova, Richard Serra, Lerato Shadi, Rozita Sharafjahan, Anatoly Shuravlev, Judith Siegmund, Sean Snyder, Adnan Softić, Nina Softić, Kathrin Sonntag, Elsa Stansfield, Mike Steiner, Gabriele Stellbaum, Barbara Steppe, Hito Steyerl, Stille Helden e.V., Eva Stotz, Marlene Streeruwitz, Annika Ström, Pilvi Takala, Astra Taylor, Klaus Theuerkauf, Klaus Clarissa Thieme, Sung Tieu, Lucia Tkáčová, Olga Tobreluts, Mark Tompkins, Miloš Trakilović, Andreas Troeger, Nasan Tur, Ulay, Steina Vasulka, Woody Vasulka, Maria Vedder, Sean Vegezzi, Jan Verbeek, Walter Verdin, Dmitry Vilensky, Bill Viola, Luca Vitone, Wolf Vostell, Silke Wagner, Clemens von Wedemeyer, William Wegman, Peter Weibel, Herbert Wentscher, Maja Weyermann, Charlie White, Katharina Wibmer, Helmut Wietz, Katrin Willim, Robert Wilson, Dean Winkler, Markus Wirthmann, Christine Woditschka, VA Wölfl, Ming Wong, Ina Wudtke, Jud Yalkut, Haegue Yang, Amir Yatziv, YOUNG-HAE CHANG HEAVY INDUSTRIES, Vadim Zakharov, Holly Zausner, Florian Zeyfang, Qiu Zhijie, Tobias Zielony, Kai Zimmer, Artur Zmijewski, Heimo Zobernig, Moira Zoitl, Angela Zumpe
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Artist Talk met Madelon Hooykaas & Patrick van Duijn (Arnhem Zoemt)
Still from To Be or not to Bee, Madelon Hooykaas,, 2020
"Als de bijen uitsterven, moet de mensheid zich zorgen maken," zei Einstein eens. In deze artist talk nemen kunstenaar Madelon Hooykaas en Patrick van Duijn van Arnhem Zoemt je mee in de urgentie van deze uitspraak. Zo vertelt Hooykaas over haar videowerk Bee Forever, te zien in de tentoonstelling Jan Mankes, en licht Van Duijn de noodzaak van biodiversiteit voor bijen toe.
Hooykaas neemt je, na de vertoning van haar videowerk To Be or not to Bee, tijdens een korte lezing mee in haar creatieve proces, waarbij ze de urgentie van haar werk en haar werkwijze toelicht. Van Duijn vertelt je daarna meer over de activiteiten van Arnhem Zoemt en de noodzaak van biodiversiteit voor bijen. Na afloop ben je van harte uitgenodigd om vragen te stellen. Ook nemen Hooykaas en Van Duijn je graag nog mee naar de tuin van Museum Arnhem om samen te ontdekken welke levensvormen daar te vinden zijn.
Wanneer? Zondag 18 mei 2025, 14.00-15.30 uur
Waar? Studio, Museum Arnhem
Kosten? Gratis
Deelnemen? Aanmelden kan door een (gratis) ticket voor de artist talk op 18 mei te reserveren in de webshop van Museum Arnhem.
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Exclusive Artist Talk with Madelon Hooykaas on 10th April, Elliot Gallery, Amsterdam (NL)
Elliott Gallery is excited to announce an exclusive Artist Talk with esteemed Dutch Artist Madelon Hooykaas
A Gift of Time, 1977 by Madelon Hooykaas
Thursday 10th April 2025, from 17.30 - 19.30
at Elliott Gallery | Tussen de Bogen 91 | Amsterdam
Following our announcement earlier this year of the representation of pioneering Dutch photographer and video artist Madelon Hooykaas, we are excited to invite you to an exclusive event to meet the Artist.
For the first time, Madelon Hooykaas’ vintage prints are available at Elliott Gallery.
During the event, she will discuss these early photographic works, which, unlike her internationally acclaimed contemporary conceptual pieces, remains largely unexplored by the public.
These vintage photographs, printed by the artist herself, offer a truly unique opportunity to glimpse the genesis of Madelon Hooykaas’ artistic journey. Dating back to 1959, when she was just 17 years old, are a remarkable documentation of Dutch everyday life throughout the 60s and 70s. They capture scenes from Rotterdam’s harbour—a place frequently visited by the artist in her childhood and a source of great inspiration for her photography—as well as images depicting war-torn Rotterdam after the Second World War, urban life in Amsterdam, winter scenes in Leiden and everyday moments at the beach in Scheveningen.
Join us for a drink and an inspiring evening to be among the first to experience the vintage photographs of Madelon Hooykaas and gain exclusive insight into her artistic process!
RSVP through the website of the Elliot Gallery
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Exhibition: Disruptions. Early Video Art in Europe, FMAC, Geneve (CH)
Curated by François Bovier & Stéphanie Serra, in collaboration with FMAC
The exhibition explores the beginnings of video art in Switzerland and its resonance in Europe in the 1970s. Performances, critiques of television, installations and video manipulations show how this medium has contributed to the evolution of the visual arts. Video works from the FMAC and Europe are presented in dialogue, exploring their similarities, contrasts and influences.
CHAPTER I → 1969-1974: February 20 - March 19, 2025
CHAPTER II → 1975-1979: March 27 - April 23, 2025
A collaboration with the research project Emergence of Video Art in Europeresearch project, the exhibition Disruptions. Early Video Art in Europe focuses on the first steps of video art in Switzerland and its connections with the European art movements of the 1970s.
In two successive chapters, the exhibition shows how this medium transformed the visual arts of the time. Video became a tool for experimentation and innovation, used to create performances, reflect on questions of identity, criticize television and design art installations. Disruptions presents a diversity of practices, then shows the evolution of video art through the manipulation of audio-visual signals to produce new images. Works from the FMAC's video collection are exhibited alongside European creations, offering a rich dialogue between similarities, differences, influences or simple coincidences.
Split Seconds, 1979, by Stansfield/Hooykaas
Featured artists: Vincenzo Agnetti, Helena Almeida, Rene Bauermeister, Dominique Belloir, Gàbor Bódy, Marinus Boezem, Wendy Brown, Jeep van de Bundt, Livinus van de Bundt, Robert Cahen, Geneviève Calame, Eugenio Carmi, Giuseppe Chiari, Gianni Colombo, Rudolf de Crignis, Peter Donebauer, VALIE EXPORT, Ivan Ladislav Galeta, Jochen Gerz, Jacques Guyonnet, Alexander Hahn, David Hall, Marianne Heske, Brian, Hoey, Madelon Hooykaas, Sanja Iveković, Jean Kerchbron, Jannis Kounellis , Klára Kuchta, Pawel Kwiek, Mervi Kytösalmi-Buhl , Urs Lüthi, Manon, Raùl Marroquin, Dalibor Martinis, Dieter Meier, E.M. de Melo e Castro, Guy Milliard, Gérald Minkoff, Antoni Muntadas, Suzanne Nessim, Jacques-Louis Nyst, Marcel Odenbach, Muriel Olesen, Jean Otth, Stephen Partridge, Walter Pfeiffer, Otto Piene, Martial Raysse, Francis Reusser, Ketty La Rocca, Ulrike Rosenbach, Nicolas Schöffer, Elaine Shemilt, Elsa Stansfield, Aldo Tambellini, Janos Urban, Miha Vipotnik, Wolf Vostell, Peter Weibel, Teresa Wennberg, Anna Winteler, Nil Yalter
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Elliott Gallery is now representing Madelon Hooykaas
Snow on Roof I, Leiden, 1961, by Madelon Hooykaas
Madelon Hooykaas
Amsterdam-based Else Madelon Hooykaas (b. 1942) is an internationally acclaimed photographer, video artist, and filmmaker. As one of the first generation of artists to adopt video as a medium, she is recognized as a transformative figure in video art, reshaping the boundaries of contemporary art through her pioneering approach. Hooykaas is widely known for her collaboration with Scottish artist Elsa Stansfield, as part of the duo Hooykaas/Stansfield. Together, they have produced a wealth of groundbreaking video environments and installations, exhibited internationally. Beyond her collaborative work, Hooykaas has established herself as a visionary solo artist, with a remarkable and ever-expanding legacy across photography, film, interactive performance, and conceptual installations.
Madelon Hooykaas, originally from Rotterdam, the Netherlands, began her photography studies under various Dutch photographers before moving to Paris in 1964. In 1966, she was awarded the Europhot Prize to work in England on her photo project Along the Pilgrim’s Way to Canterbury, inspired by The Canterbury Tales. Afterward, Hooykaas worked in Brussels and Paris, before establishing herself as a freelance photographer and filmmaker. In 1968, she was awarded a travel scholarship as the first Dutch photographer to the United States by the Netherlands Ministry of the Arts. During her time in New York, she worked alongside photography legends Philip Halsman and Bert Stern, also taking lessons from Garry Winogrand and Joel Meyerowitz. Upon her return to the Netherlands, she joined the professional association of photographers GKf and began writing about photographers she admired for the influential Dutch magazine Foto, including profiles on figures such as Robert Doisneau and Jacques Henri Lartigue, as well as several Japanese photographers. She has also travelled to Japan multiple times, where she interviewed photographers while simultaneously deepening her interest in Zen Buddhism.
In her practice, Madelon Hooykaas explores profound themes of time, space, memory, and abstraction, inviting audiences into immersive and meditative experiences. Her artistic practice is also deeply influenced by her lifelong commitment to Zen Buddhism, which she embraced after an impactful meeting with philosopher Alan Watts in California. This influence is evident in her installations, where she seamlessly integrates themes of nature and spirituality.
While Hooykaas’ conceptual work in photography, performance, and video environments have been shown widely, her early photographic work remains largely unexplored publicly. These vintage photographs—printed by the artist herself—offer a truly unique opportunity to glimpse the genesis of Madelon Hooykaas’ artistic journey. These works, dating back to 1959 when she was just 17 years old, are a remarkable documentation of Dutch everyday life throughout the 60s and 70s. They capture scenes from Rotterdam’s harbor—a place frequently visited by the artist in her childhood and a source of great inspiration for her photography—as well as images depicting war-torn Rotterdam after the Second World War, urban life in Amsterdam and everyday moments at the beach in Scheveningen.
Hooykaas’ work is part of numerous esteemed museum and private collections, including the Amsterdam Medical Center, the Stedelijk Museum Amsterdam, Centraal Museum Utrecht, Museum Arnhem, Museum Gouda, the Cultural Heritage Agency of the Netherlands and Bonnefanten Museum Maastricht. Internationally, her work has been exhibited and held in prestigious institutions such as Tate Britain, The Photographers’ Gallery, the Museum of Modern Art (MoMA), the Centre Pompidou in Paris, the Zentrum für Kunst und Medien (ZKM), MuHKA Museum for Contemporary Art in Antwerp, the Gallery of Modern Art Glasgow (GoMA), as well as collections in Canada, Switzerland, and Australia.
Text by Elliott gallery
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Exhibition: ‘Jan Mankes: Silence and Struggle’ in Museum Arnhem
Bee Forever (2022) - sculpture and video projection, from Madelon Hooykaas is part of the exhibition ‘Jan Mankes. Silence and struggle’ in Museum Arnhem.
25th of January - 24th of August 2025
The largest Mankes exhibition ever, spread across two museums. Together with Museum Belvédère in Oranjewoud, we are presenting Mankes like never before.
Jan Mankes (1889-1920) is known for his paintings in which time seems to stand still. His works often depict tranquil scenes of the people around him, as well as animals and nature. He created these artworks in response to the turbulent times he lived in, against the backdrop of the communist revolution, the First World War, and the fact that the Netherlands had to prepare for war. Why did Mankes do this? Was it a way to escape the misery, or was there a strategy behind it? At Museum Arnhem, you can see that Mankes painted with great attention and sensitivity. We also look at his contemporaries and modern-day artists. How do they seek peace in the tumultuous world around them?
Spread across two museums, you can discover Jan Mankes as never before. Part of the exhibition is on display at Museum Arnhem. Simultaneously, the other part, focusing on Mankes's Frisian years, can be viewed at Museum Belvédère in Oranjewoud.
Participating artists
Antoon Derkzen van Angeren, Suzette Bousema, Edgar Fernhout, Julie de Graag, Bertha van Hasselt, Jemmy van Hoboken, Madelon Hooykaas, Theo van Hoytema, Chris Huidekooper, Raoul Hynckes, Lucie van Dam van Isselt, Dick Ket, Chris Lebeau, Jan Mankes, Jacob Maris, Matthijs Maris, Piet Mondriaan, Marianne Nicolson, Odilon Redon, Wim Schuhmacher, Sophie Steengracht, Jan Toorop, Floris Verster, Mariëlle Videler, T. Wegner, Jan Wittenberg, Milah van Zuilen.
Publication
A beautifully designed book will accompany the exhibition, available for purchase in the museum shops of both Museum Belvédère and Museum Arnhem. The book is only available in Dutch.
Bee Forever was acquired by Museum Arnhem in 2025 and is now part of their collection.
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2024
Acquisition of ‘Table of Orientation’ by Zentrum für Kunst und Medien
In 2024, Zentrum für Kunst und Medien acquired the interactive sculpture ‘Table of Orientation’ (1994/95) by Stansfield/Hooykaas. The Departement Wissen – Collection, Archives & Research is updating the technical requirements so that this key installation will be installed and be able to be shown again.
Link to a documentation of the work by ISEA
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Interview in Mosaic Digest | Madelon Hooykaas - A Life in Motion
Published on line, November 2024
‘In the footsteps of’ performance with live music by Caro C. with Madelon Hooykaas, drawing and voice, Manchester Art Gallery, Manchester (GB), 16 March 2019
Exploring six decades of pioneering video art, collaboration, and Zen-inspired creativity
Madelon Hooykaas reflects on her creative evolution, from early influences in photography and film to her groundbreaking video art, collaborations, and the integration of Zen spirituality into her artistic process.
Madelon Hooykaas stands as a transformative figure in the evolution of video art and installations, continuously pushing the boundaries of contemporary art with her pioneering work. From her early collaborations with Elsa Stansfield in the 1970s to her later solo ventures, Hooykaas has crafted an extraordinary artistic legacy that spans photography, film, interactive performance, and conceptual installations. Her explorations of memory, landscape, spirituality, and abstraction resonate through every piece, offering audiences an immersive and often meditative experience. Her works, housed in prestigious institutions like MoMA and Tate, have left an indelible mark on the world of video art, establishing her as a key figure in its development.
In this interview, we delve into Hooykaas’ remarkable journey—from her childhood in war-torn Rotterdam to her experiences studying in Paris and England, and her time in California where she met the influential Alan Watts. Her reflections shed light on the profound personal and philosophical encounters that shaped her artistic practice. With a lifelong commitment to Zen Buddhism and a deep reverence for nature, Hooykaas seamlessly intertwines themes of spirituality and the natural world into her installations, creating works that are both visually arresting and contemplative. Through her storytelling, we gain insight into the mind of an artist who has spent decades not only mastering her craft but also expanding its very definition.
Madelon Hooykaas is a visionary artist whose pioneering work has forever reshaped the landscape of video art and installations.
Can you share how your early experiences in Rotterdam influenced your artistic journey, particularly in photography and film?
I was born during World War II in 1942 in an occupied country and lived in Rotterdam from the beginning of 1944 together with my father, mother and brother Frans, who was born in 1939.Rotterdam was bombed in 1940 and it felt like a scarred city. My father was taken prisoner in 1944 by the Germans to work in the factories there. After that experience my parents were divorced and I got a new father 13 years younger than my mother. He was a photographer. The harbour of Rotterdam influenced me a lot as a small girl. I would go on my bicycle to look at the big ocean steamers going to far away countries and I told myself that I want to go on such a ship, when I am grown up.
What motivated your decision to study in Paris and England, and how did those experiences shape your approach to conceptual art?
It was my dream to go to Paris as a young woman. I studied and worked in Paris with several photographers and later with filmmakers. My time in London was provided through a scholarship of Europhot and shaped my thoughts that photography could be art. Also, it was in London that I first met Elsa Stansfield with whom I started to collaborate in 1972.
How did your meeting with Alan Watts in California impact your work and your interest in Zen Buddhism?
My dream to embark on a big ship came true. I left Rotterdam on a Holland-America vessel in September 1968 and I lived in the U.S.A. for a year. First in New York where I assisted the photographers Philippe Halsman, Gary Winogrand and Bert Stern. Also, in New York I met Woody Allen and Andy Warhol and the Factory members. Later I travelled through the States and stayed in San Francisco with friends. They invited me to go to Berkeley University where Alan Watts gave a lecture. That meeting with him was of great importance to me and it was at that moment that I decided that I wanted to go to the source of Zen-Buddhism and would try to find a monastery in Japan where I could stay.
Your collaboration with Elsa Stansfield is significant in your career. Can you describe the creative process you shared and how it evolved over time?
My collaboration with Elsa Stansfield was very significant in my career. Making films together is a process which is done with several people. For our first film ‘One of These Days’ we collaborated with the now well-known composer Delia Derbyshire. In 1975 we started to make our first video-environment ‘What’s it to you’ in Glasgow. To experiment with this new medium was very exciting. Nowadays we are called video pioneers. Within the art world collaboration was not accepted in those days and certainly not two women artists working together, so that made it difficult sometimes. To exchange ideas with another artist is very inspiring and gives you more insight about your own creative process.
How do you incorporate themes of nature and spirituality into your installations and films, and what specific techniques do you use to convey these ideas?
After my stay in 1970 in a Japanese monastery and publishing my book ’Zazen’, I became a Zen-Buddhist. Nature and Spirituality are very close in Buddhist philosophy. For the last 20 years I am a one-woman crew; besides recording sound I make my own moving images for my installations and films. My way of looking at the world around me is essential in my work. I film very intuitively and I mostly wait some time to use the images for a project. In my book ‘The Artist as Explorer’(2023) I summarize some of the principles on which my work is based since about sixty years.
What led you to return to Japan for a second time, and how did this experience influence your later works, particularly the films you created after that visit?
After Elsa Stansfield died in 2004, I felt the need to go back where I started with my own work. My stay in Japan and my conceptual work with photographic sequences I created after my first visit was very essential for me at that time. In 2007 I went back to Japan to make moving images for the project ‘Haiku, the Art of the Present moment’. This resulted in a film for the Buddhist Broadcasting Foundation, and also an audio-video installation and a series of film stills. Since then, I went back several times to Japan to make two films for television in different monasteries and a new book ‘Zazen Now’.
Also, during my eighth visit to Japan I developed the idea of drawing on paper on which the video image was projected. Several live performances were created in this way at locations in Venice, Amsterdam, Antwerp, Manchester and Berlin.
Some of my performances are to be viewed in my book ’The Artist as Explorer’ via QR-codes.
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Screenings 2024
- Connecting the Invisible was screened at The Art Center in Dover NH in USA (February 2024)
- Wheel of Life was screened in Spain, at Soria - Fundacio de Arte Medinaceli (10 March - 7 April 2024) - link to the screening
- About Bridges was screened in Coventry (GB) at the opening of the Delia Derbyshire Building at the Coventry University on the 2nd of May, 2024
- Wheel of Life was screened in Milan, Italy, at Visualcontainer[.Box] from November 22th till December 22th, 2024.
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Zicht op Wind:
Feestelijke onthulling sculptuur van Madelon Hooykaas in Nesselande
Datum: dinsdag 21 mei 2024
Tijd: 17.30 uur
Locatie: Kretalaan – het noordelijkste puntje van de boulevard in Nesselande aan het strand
Foto Aad Hoogendoorn
Op dinsdag 21 mei om 17.30 uur wordt het kunstwerk Zicht op wind feestelijk onthuld door wethouder Cultuur Said Kasmi. De sculptuur van beeldend kunstenaar Madelon Hooykaas vormt een boegbeeld voor de uiterste punt van het strand van Nesselande, hellend over het water aan de kop van de recent opgeleverde wijk Noorderstrand aan de Kretalaan. De totstandkoming van het werk kende een lange periode en vele procedures. BKOR is verheugd dat met Zicht op wind een sculptuur van de gelauwerde kunstenaar Madelon Hooykaas aan de Rotterdamse Beeldencollectie is toegevoegd.
Over het kunstwerk
Zicht op wind is door Hooykaas speciaal ontworpen voor de Zevenhuizerplas in Nesselande. Het project is voortgekomen uit een kunstenplan onder leiding van BKOR en in opdracht van gemeente Rotterdam, naar aanleiding van de herontwikkeling in de jaren 1990 en de toentertijd geldende percentageregeling. Het gebied bestond vanaf de middeleeuwen uit moerassig veen. Door turfwinning en vervening ontstonden grote plassen met daaromheen polders, waarna in de jaren 1990 werd begonnen met de ontwikkeling van de Vinex-wijk Nesselande. Toen Hooykaas met beeldend kunstenaar Elsa Stansfield (1945-2004) in 2000 de opdracht kreeg, was de aanleg van Nesselande pas net opgestart – er woonde nog bijna niemand.
Met Zicht op wind verwijst Hooykaas naar het feit dat Nesselande 5,5 meter onder zeeniveau ligt. Het is daarmee één van de laagstgelegen plekken in Nederland. De kunstenaar zag graag dat de toekomstige bewoners van Nesselande zich daar bewust van zouden zijn. Daarom duidt de blauwe lichtring het Normaal Amsterdams Peil (NAP) aan. Ondanks dat het water op en neer gaat, blijft het NAP gelijk. Zoals de titel suggereert, probeert Hooykaas ook de wind zichtbaar te maken in dit kunstwerk. Het roestvrijstalen fundament staat in verbinding met het water en verwijst naar het NAP dat vaststaat. Maar in tegenstelling tot die stevige basis is de windvaan altijd in beweging. ‘s Avonds gloeit de windvaan na dankzij de geelgroene fosforescerende verf.
Over de kunstenaar
Madelon Hooykaas (1942), opgegroeid in Rotterdam, heeft sinds de jaren 1970 een alomvattende artistieke insteek ontwikkeld met betrekking tot haar kunst en onderzoek naar fotografie, film, installatie en video, interactieve- en performancekunst en kunst in de openbare ruimte. Haar werk bevat terugkerende thema’s als fysieke en menselijke landschappen, water en licht, herinnering en aanwezigheid, verlies en abstractie, en minimalisme en formalisme. Tussen 1972 en 2004 werkte Hooykaas samen met Elsa Stansfield (Glasgow, 1945 – Amsterdam, 2004) als het samenwerkingsverband Stansfield/Hooykaas. Hun werk is opgenomen in collecties waaronder Tate, Londen; MoMA, New York, Stedelijk Museum, Amsterdam en Bonnefanten, Maastricht. In 2023 verscheen de monografie The Artist as Explorer over Madelon Hooykaas bij uitgeverij Jap Sam Books.
Programma
Om 17.30 uur start het programma met een speech van wethouder Cultuur Said Kasmi. Sandra Smets (kunsthistoricus) spreekt een essay uit over het kunstwerk en de openbare kunstcollectie van Rotterdam. Presentator Guus Bok gaat in gesprek met kunstenaar Madelon Hooykaas, Arjen Knoester (stedenbouwkundige gemeente Rotterdam) en Marjolijn van der Meijden (projectleider BKOR). Aansluitend wordt een speciaal voor dit werk gemaakt klankstuk ten gehore gebracht door geluidskunstenaar Roel Meelkop. Na de onthulling volgt een feestelijke toast op het nieuwe kunstwerk met een lekker hapje erbij.
Link naar het online artikel
Portrait of Madelon Hooykaas
Interview by Marjolein Geraedts
The artwork Zicht op Wind by Madelon Hooykaas is a recent addition to the Rotterdam sculpture collection. A robust stainless steel sculpture leans like a figurehead over the water of the Zevenhuizerplas in Nesselande. The work was created by the internationally acclaimed artist and filmmaker Madelon Hooykaas (1942). As one of the pioneers in the field of video art, working closely with the Scottish artist Elsa Stansfield (1945-2004) for a long time, she has developed an extensive oeuvre. The work, in which past and present, water and light are recurring themes, is included in the collections of Stedelijk Museum Amsterdam, Museum of Modern Art in New York and Tate Britain in London, among others. Hooykaas talked to Marjolein Geraedts about her artistry and the artwork Zicht op Wind. The interview gives an impression of a passionate artist who is still active today.
This art project in Nesselande has a long history. Can you tell us something about that?
Elsa Stansfield and I started this project in 2002, when Nesselande was still a polder. From the Middle Ages this was a swampy peat area that has been cultivated by humans over the centuries. Peat extraction and peat extraction created large ponds surrounded by polders. When we were commissioned to create a work of art for this place in the context of the percentage scheme, the construction of Nesselande had only just started - hardly anyone lived there yet. Precisely because this area was still such an empty place, we thought it was important that an artist be present at an early stage. After an extensive period of research, we came up with the proposal to make a sculpture on the water, where an artist can also work at the same time. At that time, no one dared to develop our proposal; of course an organization also had to be set up for this. Elsa and I have often worked as artists-in-residence, in Banff, in San Francisco, in Iceland, all over the world. That was always very inspiring, for ourselves, but also for the environment. It was the local residents you came into contact with and to whom you presented your work.
Madelon Hooykaas, ’Zicht op wind’, 2023
The final design is a weather vane. How did you come up with the design for this artwork?
I thought it was very important to create a work of art that is site-specific, designed especially for Nesselande. Elsa and I have been doing that since the 5,5s; we made environments and installations that related to the geographical, cultural or social place - whether in nature or in an art institution. With this new work of art we wanted to refer to the fact that the Nesselande district is XNUMX meters below sea level. This makes it one of the lowest places in the Netherlands. We would like future residents to become aware of this. That is why the blue light ring indicates the New Amsterdam Level (NAP). Even though the water goes up and down, the NAP remains the same. Twenty years later it has become a kind of prophetic message; Nowadays many more people are concerned with the climate - although as a society we should have been much more aware of it at the time. I'm very happy that the work finally happened.
Not only the sea level, but also the wind plays a major role in this place.
During my visits to Nesselande I noticed that there were always many windsurfers on the Zevenhuizerplas. Because the wind direction is of course essential for them, I wanted to make a work that makes the wind visible. Then I developed the idea of the weather vane. Thanks to the yellow-green phosphorescent paint, the weather vane glows at night. In the past, Elsa and I have worked a lot with wind. So in 1984 we created Compass, a wind installation at the Stedelijk Museum Amsterdam, for the first major exhibition of video art in Europe: The Luminous Image. On the roof of the Stedelijk Museum we have placed a weather vane with a camera that is connected to four screens, each located in a corner of the museum hall - referring to the four directions of a compass. Each monitor shows existing images and sounds from nature, but are abruptly pushed away as soon as the wind vane on top of the roof starts rotating.
Here on the table is a copy of a print by Wassily Kandinsky. Has this work inspired you?
As a young girl in Rotterdam I was fascinated by it Lyrical (1911), a painting of a horse with rider that hung in Museum Boijmans Van Beuningen. Later I studied Kandinsky's work; he is still one of my favorite artists. I saw this print by Kandinsky in the Center Pompidou in Metz, and I immediately loved it. The Morse characters and the mystery they radiate were inspiring. Art and spirituality were very important to him, the invisible. These are themes that I am also very concerned with.
Wassily Kandinsky, prent, collectie Centre Pompidou
I see Zicht op Wind in that place as a beacon, marking past and present. Did you mean it that way?
Yes, you can definitely see it that way. But I also think it is important that people give their own interpretation to the work of art. So many developments have taken place in this place over the past twenty years. When we started the project there were only meadows, no beach and so on. Slowly but surely we saw how such an area takes shape. The existing lake was doubled in size especially for this construction project, which was very exciting to see. And of course there were houses, shops, a metro, etc. This place in Nesselande has now grown into a top location with a beautiful view.
Yet the work is also about something invisible, namely the wind. This means that the work of art is not so much the object itself, but the wind – as soon as you feel or hear that wind. Can you tell us something about that layering?
The wind is of course something invisible, so I try to make it visible. This double layer is also in the foundation of the artwork, which is connected to the water and refers to the NAP that is fixed. But on that solid base, the weather vane is always moving. This constant change is also reflected in our sculpture Shelter (1995), a kind of 'dish antenna' on the dune near Wijk aan Zee. If you sit in the shell, you will hear different sounds of the sea, the surf, the beach, the wind, people, birds and boats - and the silence.
Photography and video have now been transformed from an artistic art form into tools that are accessible to everyone. Every day we are inundated by thousands of (digital) images. As a pioneer of video art, how do you view this development?
Due to the digitalization of media, everyone nowadays takes photos and videos, and everyone seems to be able to write. Artists are currently working in many different media and doing all kinds of things on the side: they do performances and make exhibitions. Perhaps this is also necessary in these times to keep our heads above water financially. What strikes me is that a lot of work is about a single theme, while I find the combination of form and subject fascinating: how is a work of art made? In Stansfield/Hooykaas' practice, video is very sculptural. Many of our works are environments, because many different things come together. As a result, there isn't one point of view towards the screen, you can walk through it and experience the work in different ways through sound, video, sculpture and photography.
Stansfield/Hooykaas, ‘Abri’, 1993, Wijk aan Zee
How was your pioneering work received in the early days of video art?
Working with video was not accepted at all in the Netherlands. Reviews often expressed the expectation that video art would blow over within a year. Fortunately, Elsa and I have also been able to work a lot outside the Netherlands. It was difficult in those early days because the medium had no history. It was very exciting to try new things. But after our exhibition in London's Whitechapel Gallery in 1976 with three videos and photography, the De Appel art center in Amsterdam also became interested. This is how it works in the Netherlands: you first have to be picked up abroad before you are appreciated here. Nowadays there is virtually no exhibition that does not contain video, and galleries have also adopted video in the form of limited edition – video art now has a much more commercial character than in the early days.
In recent years, there have been some striking developments in the art world, particularly the rise of women and the formation of artist collectives. For example, the main exhibition of the most recent Venice Biennale consisted only of women, and at Documenta the power of the art collective was central.
When Elsa and I started making work together, collaborations were virtually non-existent. Nowadays everyone works together, everyone is in one artist collective. In our time no one understood what that meant. We were always asked: 'what do you do and what does the other person do?' For that reason it was also difficult to apply for a subsidy, while nowadays cooperation seems to be a condition for qualifying for a subsidy. Later, during the feminist wave, Stansfield/Hooykaas's work was very popular for exhibitions because it was good for subsidy applications. We were not always happy with that, because our work does not have a feminist character in terms of content. Our work was not directly about the person behind the artist, which is much more of a trend these days. Nowadays art is not so much about the work itself, but about the person, who makes it and about the background of the artist. There has been a major shift from universal to individual. What strikes me is that nowadays the type of art that can be seen in exhibitions is often directed from above, and active policy is drawn up. I prefer a more organic method.
Stansfield/Hooykaas, ‘Compass’, 1984, Stedelijk Museum, Amsterdam
Are there any young artists from the current generation that you follow?
There are always young artists doing interesting things. They have new ideas and a fresh perspective, all of which still has to crystallize. When I give workshops at art schools, I advise young artists to look back at early video art. They often say that you can never do anything new that way. To that I say that it is not about whether something is new, but about your interpretation. I have very specific ideas about this: a work of art only exists when it is in the world. By this I mean to say that it is extremely important to me that the work gets out into the world. I am not an artist who makes ten paintings and works on them in her studio every day. I do a lot of research and have a lot of ideas that I will develop at some point.
Stansfield/Hooykaas has created dozens of works over the years, mostly in video, a medium that is very vulnerable these days. In what ways can the public view your oeuvre?
Elsa and I are both not the type of artists who keep track of exactly which works we made in a book. After her death in 2004, I felt very responsible for the work and asked people from the art world for advice, after which the idea arose to inventory the work. An intern from the UvA master's program Preservation and Presentation of the Moving Image assisted me for a year and a half with the inventory of the works that Elsa and I created until 2004.
I also got the book in 2010 Revealing the Invisible and established a foundation in 2012 with the idea of having a number of key works go to museums or collectors so that the work can continue to be seen. For example, the Tate Gallery purchased one of our works in 2018; it took no less than five years to achieve that. The Gallery of Modern Art, Glasgow, the Bonnefanten Museum in Maastricht and Muhka in Antwerp also have our work in their collections. However, there are still many works of art that need to be technically updated, because they were created with the first computers at the time. Finally, there are plans for exhibitions with MIMA in Middlesbrough and Kettle's Yard in Cambridge. There is a lot of interest in my work in Great Britain at the moment.
Madelon Hooykaas en Louis Andriessen, ‘Alles is rond’, 2019-2020, Centraal Museum, Utrecht
What are you currently working on?
A new book is out in September: The Artist as Explorer, published by Jap Sam Books. In my previous publication, Revealing the Invisible, ten authors from science, art and spirituality wrote about the work of Stansfield/Hooykaas. For the new publication I asked some authors to write about specifically my own work. That idea felt good, because I wanted to highlight the period prior to my collaboration with Elsa a little more. I then lived in Paris, Brussels, London and New York, and worked mainly with photography. Yet the book also pays attention to my current work, so that there is a good balance between the past and the present.
Waarnaar verwijst de titel The Artist as Explorer?
Het idee van de kunstenaar als ontdekker past erg bij me, ik doe onderzoek op verschillende niveaus. Zo was ik in september 2022 artist-in-residence bij Maison Dora Maar in de Provence. Daar heb ik allerlei projecten gedaan: ik maak opnamen, doe onderzoek en ik spreek met allerlei mensen. Daarna laat ik het wat rusten, waarna van alles bij elkaar komt. Op dat moment komt het kunstwerk pas de wereld in.
Publicatiedatum: 30/11/2023
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Exhibition: From the Archive Videos from 50 Years of Künstlerhaus Bethanien
Flying Time (single channel) by Stansfield/Hooykaas
Künstlerhaus Bethanien Berlin
From the Archive Videos from 50 Years of Künstlerhaus Bethanien
24.05. – 16.06.2024
Picture of Flying Time, on display in Künstlerhaus Bethanien, Berlin (DE)
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Exhibition: Museum of Memory, Museum Arnhem Acquisitions from the past five years
28th of April - 18th of August 2024
Museum of Memory VII was part of this exhibition and was acquired by Museum Arnhem in 2022
__________________________________________________________________________ Exhibition: #63 Haiku, The Art of Observing - Madelon Hooykaas IBASHO gallery, Antwerp (BE) 23 March - 4 May 2024 We are proud to announce a solo exhibition featuring works by the celebrated Dutch visual artist Madelon Hooykaas (1942): ‘Haiku, the Art of Observing.’ Over the past six decades, Hooykaas has dedicated herself to exploring new territories, cultures, aesthetics and experimenting with various forms of media. Her artistic journey has been shaped by contemplation, introspection and a profound interest in and connection with diverse cultures and beliefs. Furthermore, her strong convictions about the importance of nature and humanity's role in preserving it, as well as her engagement with Eastern philosophies that advocate for a balance between human experience and the natural world, form the foundation of her creative body of work. For the very first time in IBASHO's existence we will show video art: in Hooykaas' exhibition, her video work ‘Haiku, the Art of the Present Moment’ (2007) plays a central role. The video revolves around haikus that the famous poet Matsuo Bashō (1644-1694) wrote during his travels and that were posthumously published in ‘The Narrow Road to the Deep North’ (1702). Inspired by Bashō’s poetic themes, Hooykaas composed the work from video sequences she had recorded during her travels in Japan and elsewhere, arranging them into four sections corresponding to the seasons. Each season has three Bashō haikus that are recited in Japanese and subsequently appear in English on the screen. The improvised music, performed on the shakuhachi by the Dutch musician and composer Ab Baars, has been woven into the fabric of the video, which celebrates the journey of life and the cycle of the seasons. The video is surrounded by prints on Hahnemühle bamboo paper from exquisite stills, chosen very carefully by Hooykaas. The prints contain a QR-code in red, resembling a Japanese stamp, with which the video can be watched at home. The second part of the exhibition shows Hooykaas’ photographic shadow works that were created after she visited Hiroshima and Nagasaki in 1983 and 1984. In the Peace Museum in Hiroshima she was struck by a stone staircase that a person had been sitting on when the atomic bomb was dropped. The bright light of the bomb had made the stone steps almost like light-sensitive photo paper. Only the shadow burned into the stone remains of this person. This was the beginning of Hooykaas’ fascination with shadows. Documentation video of exhibition Recensie in de magazine Knack, April 2024, geschreven door Sam De Wilde |
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Lezing: Emptiness and Infinite Space VIII, Arti et Amicitiae, Amsterdam (NL)
Foto van Rienk Toorman
1 maart 2024
20.30 - 22.00 uur
MADELON HOOYKAAS
Al sinds 2017 organiseren Stichting Wim de Haan en Arti et Amicitiae de reeks Emptiness & Infinite Space. Gedurende dit symposium onderzoeken kunstenaars en filosofen het gebied tussen de beeldende kunst en de filosofie: een nog altijd – én steeds opnieuw – weinig verkend niemandsland. In dit seizoen stortten wij ons al op de rol van de kunst en filosofie in relatie tot de klimaatcrisis (Emptiness & Infinite Space VI) én onderzochten we hoe de kunst en filosofie zich verhouden tot de toenemende aanwezigheid van digitale werelden en media (Emptiness & Infinite Space VII).
De achtste bijeenkomst – op vrijdag 1 maart a.s. – staat geheel in het teken van het (recente) werk van één beeldend kunstenaar, te weten Madelon Hooykaas
Madelon Hooykaas (Maartensdijk, 1942) staat bekend om haar tijdloze en baanbrekende experimenten in de hedendaagse kunst. Sinds de jaren ’60 heeft Hooykaas een alomvattende artistieke insteek ontwikkeld met betrekking tot haar kunst en onderzoek naar fotografie, film, installatie en video, en interactieve- en performancekunst. Tussen 1972 en 2004 werkte Hooykaas samen met Elsa Stansfield (Glasgow 1945 – Amsterdam 2004) als het gerenommeerde partnerschap Stansfield/Hooykaas. Hun pionierswerk op het gebied van video en video-environments en installaties als nieuwe kunstvorm werd internationaal tentoongesteld en is opgenomen in vele prestigieuze publieke en private collecties in Europa en de Verenigde Staten, waaronder Tate Modern, London; MHKA, Antwerpen; GoMa, Glasgow; MoMA, New York en Stedelijk Museum, Amsterdam. In 2023 presenteerde Hooykaas in Landhuis Oud Amelisweerd haar nieuwe boek The Artist as Explorer en volgde ook een avond in Eye, waar zij een selectie van zes films presenteerde. Op 1 maart a.s. is Hooykaas nu te gast bij Emptiness & Infinite Space.
Programma
De avond wordt kort ingeleid door de jonge filosoof Floris van der Burg. Hooykaas zal daarna een aantal recente videowerken vertonen die zij één voor één inleidt. Vervolgens draagt Jan Bor voor uit zijn bijdrage aan het eerdergenoemde The Artist as Explorer. Jan Bor is filosoof en schrijver en heeft aan een breed scala van universiteiten (o.a. VU Amsterdam en Universiteit van Amsterdam) en kunstacademies (o.a. Gerrit Rietveld Academie en de Rijksakademie) onderwezen. Hij promoveerde in 1990 met een proefschrift over de Franse filosoof Henri Bergson, getiteld ‘Bergson en de Onmiddellijke Ervaring’. Later verschenen van zijn hand o.a. ’25 Eeuwen Oosterse Filosofie’, ’25 Eeuwen Westerse Filosofie’, ‘De Verbeelding van het Denken’, ‘Mondriaan Filosoof’, ‘OnZen’ en ‘Modern Modern’. Momenteel rondt Bor het filosofisch essay ‘Waarnemen’ af, waarin ook aandacht uitgaat naar het werk van Hooykaas.
Na een korte pauze gaan Hooykaas en Bor met elkaar in gesprek, gemodereerd door Van der Burg. Centrale thema’s die vanuit de kunst en filosofie onderzocht zullen worden zijn: ervaringen van fysieke en menselijke landschappen, water en licht, verlies en abstractie, herinnering en aanwezigheid én vorm en onuitgesproken en onuitspreekbare leegte (emptiness).
Hooykaas zal op deze avond haar nieuwe werk ‘Resilience’ vertonen. Het werk is net af en dit zal de première zijn.
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2023
Exhibition and Publication: Making New Worlds: Li Yuan-chia & Friends, Kettle’s Yard, Cambridge (UK)
Film screening on the 8th of December:
As Above, So Below, Madelon Hooykaas, 2019, single channel video, sound, 4’47’’
(UK premiere)
Exhibition: Making New Worlds: Li Yuan-chia & Friends
1 November 2023 – 18 February 2024
Exhibition Artists
Audrey Barker, Thetis Blacker, Anna Brownsted, Hsiao Chin, Lygia Clark, Delia Derbyshire (remixed by David Butler), Ian Hamilton Finlay, Bettina Fung, Naum Gabo, Andy Goldsworthy, Barbara Hepworth, EJ Hooper, Madelon Hooykaas, Dom Sylvester Houédard, Claire Langdown, Liliane Lijn, Ovidu Maitec, David Medalla, David Nash, Grace Ndiritu, Paul Neagu, Ben Nicholson, Kate Nicholson, Winifred Nicholson, Mira Schendel, Elsa Stansfield, Takis, Aaron Tan, Charwei Tsai, Shelagh Wakely, Donald Wilkinson and Li Yuan- chia.
Link to the exhibition
The Four Corners of My Room (1975) by Madelon Hooykaas,
silkscreen from a unique Polaroid work from 1971
Still from No self (2019) by Madelon Hooykaas
Publication: Making New Worlds: Li Yuan-chia & Friends
Published by Kettle’s Yard, University of Cambridge
ISBN: 978-1-904561-78-1
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Book presentation and screening: Madelon Hooykaas - The Artist as Explorer, Eye Filmmuseum, Amsterdam (NL)
Tuesday, 24th of October 2023
Madelon Hooykaas - The Artist as Explorer
At Eye Filmmuseum, Amsterdam
An evening with Madelon Hooykaas, one of the most important video pioneers of Europe. With six short film and video's, a Q&A by art historian and curator Jacqueline Grandjean and the presentation of an interactive publication.
An evening with Madelon Hooykaas, one of the most important video pioneers in Europe. From 1972, she worked intensively with the Scottish artist Elsa Stansfield (1945-2004) as the internationally renowned partnership Stansfield/Hooykaas. She has developed a comprehensive artistic practice related to her art and research through photography, film, video, installation and interactive and performance art. Recurring themes are physical and human landscapes, water and light, memory and presence, loss and abstraction, and minimalism and formalism. Hooykaas’ works are included in many important international art collections.
Madelon Hooykaas will introduce a selection of six films, ranging from early 16mm films she made with Elsa Stansfield in the seventies, until the première of Rhizome, a film made in 2023. This work is also on show in the exhibition "Resonance" at Oud Amelisweerd (through Nov. 12).
Programme
- Daydreams (16mm, 1972, 8') - In this film Madelon Hooykaas and Elsa Stansfield are preoccupied by the thoughts-memories that cross a person’s mind from dusk till dawn. Parallels are drawn between day and night, and life and death.
- About Bridges (16mm, 1975, 22') - “It all begins with how you feel on a bridge… You see how other people are busy and how you experience it yourself and so it becomes something about people.” The artist Marian Plug speaks to filmmakers Stansfield/Hooykaas while composing her large and intricate silk screen 'The Bridge'. The film explores different ideas of work, connection and positioning: a bridge means something different to a builder, an architect or someone walking over it. Anchored by a buoyant electronic soundtrack by British composer Delia Derbyshire.
- In the Footsteps of Li Yuan-chia and Delia Derbyshire (2020, 9') - A meditation honouring the friendship and creative working relationships Madelon Hooykaas had with the late Chinese artist Li Yuan-chia (1929-1994) and composer Delia Derbyshire (5 May 1937 – 3 July 2001). Drawing from images, text and sound by Li and Delia including footage from Madelon’s own archival collection and footage from The Hubble Telescope. The basic structure of the moving image is inspired by the Japanese concept used in Ikebana: TEN-CHI-JIN, meaning sky-earth-person. Caro C's sensitive soundtrack uses piano, prepared piano (including ping pong ball in piano), found sounds, voice and electronics.
- As Above So Below (2019, 5', Dutch premiere) - A poetic interpretation of the well known philosophical saying 'as above so below'. The principle also refers to the interconnection of the macrocosm, the universe, with the microcosm, the earth.
- To Be or not to Bee (2020, 3') - This short film is a response to a news item from 2020 about unexplained mass mortality of bees in northern Italy – the same region that was severely affected by the corona crisis. Hooykaas has been doing artistic research on bees for some time now. She refers to a prediction attributed to Einstein: if the bees die out, then humanity must start to worry.
- Rhizome (2023, 3') - In this multi-layered work the artist is discovering the connection between the roots of trees and underground networks humans have created.
- Documentation of the solo exhibition 'Wheel of Life' (2021, 4')
Three works: a moving sculpture ‘Wheel of Life’, soundscape ‘Echo’ (7’) and video ’Resonance’ (7’).
After the screening art historian and director of the Noordbrabants Museum Jacqueline Grandjean will interview the artist and the book 'The Artist as Explorer' will be presented. This comprehensive monograph is an interactive publication with QR codes that give access to Hooykaas’ work.
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Podcast interview: Mr. Motley in gesprek met Madelon Hooykaas
De Mr.Motley Podcast over het werk van Madelon Hooykaas is te beluisteren via deze link:
KUNST IS LANG: Madelon Hooykaas - Mister Motley
Gepubliceerd: 3. Oktober 2023
Deze week is Madelon Hooykaas te gast bij Kunst is Lang. Madelon behoort, als onderdeel van een kunstenaarsduo met de in 2004 overleden Elsa Stansfield, tot de video-pioniers van de vorige eeuw. Maar ook voor en na hun samenwerking maakte Madelon vele foto- en videowerken, waaruit een grote interesse in spiritualiteit en de natuur blijkt. Zo werd ze als eerste westerse vrouwelijke fotograaf binnengelaten in een Japans zenklooster en filmt ze overal ter wereld patronen en bewegingen in de natuur die haar opvallen. Madelon toont nu werk in Landhuis Oud Amelisweerd, en recent verscheen een monografie van haar werk, onder de titel The Artist as Explorer.
De monografie The artist as Explorer is hier te bestellen
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Solo exhibition and book presentation: Resonance
SOLO EXHIBITION RESONANCE (24.09 - 12.11.2023)
AND BOOK PRESENTATION (24.09.2023)
The presentation of my book ’The Artist as Explorer’ published by Jap Sam Books will be on Sunday afternoon 24th of September 2023 at 3 pm at the country house Oud Amelisweerd in Bunnik. (only by invitation)
At the same time the installation Wheel of Life and the soundscape Echo can be experienced at the ground floor of the country house. Also the video Resonance and the first screening of the video Rhizome (2023) will be shown at the attic of Landhuis Oud Amelisweerd.
Resonance (2021), Madelon Hooykaas
Madelon Hooykaas is a visual artist, photographer, and filmmaker. In her recent installations and videos, ecology serves as her starting point. Throughout her extensive career, she has developed a personal visual language of nature often characterized by light, shadow, and reflection.
In her works Wheel of Life, Echo, and Resonance, she explores the principle of radar and the nocturnal flight of bats. Fascinated by the underground communication of trees, she created her most recent video work, Rhizome.
Her pieces have the ability to evoke both silence and questions. She combines contemporary digital technology with her personal poetic visual language, frequently creating her own soundscapes and soundtracks.
Each work is an exploration of how the human and the superhuman are interconnected. Madelon Hooykaas’ works make visible and palpable what is present but not always tangible. Her installations and videos encourage repeated viewing, thus experiencing the deeper layers.
Madelon Hooykaas (1942) was one of the first visual artists to utilize video as an artistic medium. Starting in 1972, she collaborated closely with Scottish visual artist Elsa Stansfield (1945-2004). Operating under the name Hooykaas/Stansfield, they built an impressive body of work that is also known for addressing ecological issues they integrated early on. Hooykaas’ works are included in significant collections, including the Stedelijk Museum Amsterdam, Centraal Museum Utrecht, Museum of Modern Art New York, and Tate Britain London.
Wheel of Life (2021), Madelon Hooykaas
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Book: The Artist as Explorer - An extensive monograph on the work of Madelon Hooykaas
An interactive publication with QR codes giving access to a selection of Hooykaas' works.
An archetypical explorer is deemed to be someone who pushes boundaries and embraces unexpected discoveries. Dedicated to art as her form of expression, Dutch artist Madelon Hooykaas has spent the past sixty years exploring new lands, cultures, aesthetics, and experimenting with multimedia. Her practice is shaped by contemplation, reflection, and a curiosity for and connection with different cultures and beliefs. Moreover, her strong convictions surrounding Nature and humanity’s stewardship role in preserving it, as well as pertaining to certain non-Western philosophies which support a balance between the human experience and the natural world, underlie her creative oeuvre.
‘The works make visible and palpable that which is present, but not always tangible. It is in this way that her art deepens our experience of the world. Time itself is investigated, real and experienced time, or energy as being at the basis of everything. It creates, but can also destroy. Energy refers to human energy too, in creation, the generation of new ideas, exchange and interaction. In this respect, Madelon Hooykaas’ installations allude to both reality and the individual within it, to the world as well as the production of reality and consciousness.’
- Kitty Zijlman (Professor Emiritus Contemporary Art History and Theory/World Art Sudies at Leiden University)
Madelon Hooykaas (1942) is one of the first visual artists to start using video as an artistic medium. From 1972, she worked intensively with the Scottish visual artist Elsa Stansfield (1945-2004). Under the name Hooykaas/Stansfield, they built an impressive oeuvre that is also known for the ecological issues they wove into their work early on. Hooykaas' works are included in important collections of Stedelijk Museum Amsterdam, Centraal Museum Utrecht, Museum of Modern Art New York and Tate Britain London.
Madelon Hooykaas is frequently supported by the mondriaan fund
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Exhibition: Communal Enthusiasm, 75 years Jan van Eyck Academy with Flying Time at the Jan van Eyck Academy, Maastricht (NL)
16 September - 15 December 2023
Curated by former participant Pádraic E. Moore, Communal Enthusiasm brings together works by academy alumni, advisers, staff, and directors. With the oldest items dating back to the early 1950s, this exhibition activates the archive and brings to light overlooked artworks; some of which have not been seen since their completion. Also included are technological remnants, administrative material and residues from previous exhibitions. Demonstrating how a propensity towards collaboration has always been a defining feature of the academy, Communal Enthusiasm invites us to consider the question posed by Anton Vidokle: What is work for an artist within our post-Fordist blur between life and work, freedom and alienation?
The portrait presented by this exhibition is not comprehensive; this is not an exhaustive survey. Nevertheless, the artifacts making up this exhibition do highlight particular tendencies that distinguish the history of this organization. Communal Enthusiasm speaks of the secularization of art; the rise and fall of particular aesthetic trends; how from the post war years onwards artisanal training in the arts gave way to technical skills and in more recent years to discursive forms of practice. Ultimately, this exhibition underscores the vital role organizations like the Jan van Eyck play in helping us imagine different ways of working, thinking and living together.
Flying Time (1982) by Stansfield/Hooykaas, image courtesy Parasite 2.0
Met werk van: Appie Drielsma, Raul Marroquin, Pieter Defesche, Silvia Baltus, C. Poerwadi, Ryan Gander, Megan Francis Sullivan, Alexandra Phillips, John Körmeling, Ruud Kuijer, Ben Brack, Wiel Arets & Wim van den Bergh, Harry Buckinx, Rudolf Bikkers, Knut Flatin, Bert de Hoog, Ron Bernstein, Hardi, Cedar Lewisohn, Rod Summers, Niek Hendrix, Servie Janssen, Gottfried Hundsbichler, Zohny Maguib, Linda Pollack, Petran Vermeulen, Geoffrey Salmon, Romy Finke, Dario D’Aronco, Imogen Stidworthy, Parasite 2.0, Margriet Thissen, Albert Troost, Yumiko Yoneda, Marine Kaiser, Orla Barry, Hooykaas/Stansfield, William PARS Graatsma, Navine G. Dossos, Lukas Smits, Andrea Éva Győri, Jo Frenken, Aleksander Johan Andreassen, Kristina Sedlerova-Villanen, Norbert Grunschel, Helga Paetzold.
Flying Time was acquired by the Bonnefanten Museum, Maastricht in 2023
Link to the webpage of Flying Time
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Exhibition: People Powered: Stories from the River Tees with Horizontal Flow at MIMA, Middlesbrough (UK)
22 July – 22 Dec 2023
Horizontal Flow (1977) by Stansfield/Hooykaas
video and script images and panting at MIMA , Middlesbrough (UK)
Horizontal Flow was acquired in 2024 by MIMA and is now part of their collection.
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Screening: 100 Jahre alternatives Kino in den Niederlanden in Filmkollektiv Frankfurt
Friday 12th of May to Sunday, 14th of May 2023,
Cinema of the DFF
with Daydreams
by Elsa Stansfield and Madelon Hooykaas,
music by Delia Derbyshire.
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Exhibition: The Look of Sound - Forum für Filme über Musik
8 till 10 May 2023 , Mannheim, Germany
About Bridges (1975)
by Elsa Stansfield and Madelon Hooykaas
Music by Delia Derbyshire
May 8 at 8 pm with Q & A with Madelon Hooykaas
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Exhibition: The Remains of 100 Days… documenta and the Lenbachhaus
July 19, 2022 – May 21, 2023
In 1955, the first documenta took place in Kassel. In 2022, sixty-seven years later, the fifteenth edition of the exhibition is now being presented.
With works by: Nevin Aladağ, Marina Abramovic / Ulay, Joseph Beuys, Gianfranco Baruchello, Thomas Bayrle, Andrea Büttner, Mirjam Cahn, James Coleman, Robert Delaunay, Walker Evans, Valie Export, Öyvind Fahlström, Ceal Floyer, Rupprecht Geiger, Isa Genzken, Jochen Gerz, Gerhard von Graevenitz, Dan Graham, Gustav Hamos, Madelon Hooykaas/Elsa Stansfield, Asger Jorn, Wassily Kandinsky, Ellsworth Kelly, Imi Knoebel, Fritz Koenig, Alfred Kubin, Franz Marc, Gustav Metzger, Gabriele Münter, Olaf Nicolai, Herman Nitsch, Marcel Odenbach, Nam June Paik, Charlotte Posenenske, Gerhard Richter, Ulrike Rosenbach, Tejal Shah, Katharina Sieverding, Telewissen, Franz Erhard Walther
with the video ‘Point of Orientation’ by Stansfield/Hooykaas
Link to the webpage
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2022
Acquisition of ‘Generations’ by the Tate Gallery, London (GB)
In 2022, the Tate Gallery acquired ‘Generations’ (1977) by Stansfield/Hooykaas
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Residency: Maison Dora Maar Cultural Centre, Ménerbes, France
September 2022
Madelon Hooykaas
Madelon Hooykaas is a Dutch visual artist, photographer and filmmaker with a long and international career. Her video and photographic work often establishes pure relationships with nature and explores scientific principles and forces of nature. She has developed a comprehensive artistic practice related to her art and research through photography, film, installation and video, and interactive and performance art and text. Recurring themes are physical and human landscapes, water and light, memory and presence, loss and abstraction, and minimalism and formalism. Hooykaas has been working with photography since the 1960s and was one of the first visual artists to use video as an artistic medium. From the 1970s, Hooykaas worked closely with the Scottish visual artist Elsa Stansfield (1945-2004). Stansfield/Hooykaas gained fame as European video pioneers. Hooykaas’ work is part of important museum collections, including Stedelijk Museum Amsterdam, Museum of Modern Art New York, Tate Gallery London and National Gallery of Canada Ottawa.
Link to the webpage
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Exhibition: Consequences. Art and Activism in the Nuclear Age, Out of the Blue, Edinburgh (GB)
Tuesday 16th August – Saturday 3rd September 2022
Feeling the Invisible - Madelon Hooykaas
Conceived in the wake of the dramatic events of 2011 in the Fukushima Province of Japan Feeling the Invisible (2012/2022) is a short split-screen artist's film by the acclaimed Dutch artist and pioneer of video art Madelon Hooykaas.
This is an environmentally empowered work which uses symbolic calligraphic brushstrokes to question how the presence of the nuclear power plants in Japan has been putting at risk both nature and human lives. The artist's film starts with a calligraphy of a circle-triangle-square – a reminder of the visual components of the radiation warning symbol but also of the picture of the universe by Sengai Gibon (1750–1837), a Japanese monk of the Rinzai School.
Speaking of the inspiration for Feeling the Invisible, Hooykaas says: "The circle represents the infinite and the infinite is at the basis of all beings. But the infinite in itself is formless. Endowed with senses and intellect, we, humans, seek tangible forms. Hence, a triangle. The triangle is the beginning of all forms. Out of it first comes the square. A square is the triangle doubled. This doubling process goes on infinitely suggesting the multitude of things in the universe"
Structured as a split-screen installation, Hooykaas' artist's film employs the doubling process and slow motion with subtlety. At certain intervals the slow pace is interrupted as if grounding to a halt. All imagery seems erased, the screen goes blank and the Geiger counter of the radiation dosimeter is the only sound to be heard. While the title references the invisibility of nuclear power and radioactivity, the film also provokes the feeling that our natural environment is precious and we should take care of it. The intense poetry of the images throughout Feeling the Invisible cannot however hide how humans endanger nature and life.
This is the first public exhibition of Feeling the Invisible featuring Hooykaas' new soundtrack. Initially, the work was exhibited as part of Transformation/Inspiration – Hooykaas' double solo exhibition (with Keiko Sato) at Japan Museum Siebold House in Leiden, the Netherlands, 16 September – 25 November 2012. The work was first exhibited in Scotland as part of Virtual Walls | Real Walls – Hooykaas' first solo exhibition in the UK held at Threshold artspace, Perth Concert Hall, 14 May – 26 July 2018.
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Film screening of Overbruggen
in collaboration with RE:VIVE, Eye Filmmuseum & Buma Music In Motion
Thursday August 4th, 17:45 - 18:15h / Aan het IJ / EYE Filmmuseum - Cinema 2
Scored by Delia Derbyshire.
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Solo exhibition: Madelon Hooykaas. To Be or not to Bee, Museum Rijswijk, Rijswijk (NL)
24 april - 12 juni 2022
Madelon Hooykaas staat bekend als pionier op het gebied van video en video-installaties. Ze doet al langer artistiek onderzoek naar de bijen en in haar werk legt ze veelal pure relaties met de natuur. Madelon Hooykaas verwijst in haar video ‘To Be or not to Bee’ – die tot stand kwam tijdens de coronacrisis – ook naar een aan Einstein toegeschreven voorspelling: als de bijen uitsterven, moet de mensheid zich zorgen gaan maken.
Still uit video Madelon Hooykaas, To be or not to bee, 2020
De tentoonstelling legt een relatie tussen de Natuurtuin in het Wilhelminapark in Rijswijk waar de Vietnamese imker Hung Nguyen bijen houdt, en een project in Vietnam waar hij lesgeeft in het bijenhouden aan weeskinderen en jongeren om zo op een manier die de natuur ten dienste staat honing te produceren.
De honing die hij in de Natuurtuin vergaart, noemt hij Dharma Nectar, en refereert daarmee aan Dharma - de leer van de Boeddha - en de nectar, de suikerrijke vloeistof die door planten wordt uitgescheiden en waar de bijen op af komen. Door van het nectar te proeven en daarvan een voorraad op te slaan in hun lichaam en van plant tot plant te gaan, bestuiven de bijen ook de bloemen. En zo kan de eeuwige cyclus van bloei, bestuiving en bevruchting in de natuur verder.
In de tentoonstelling worden filmbeelden getoond die Madelon Hooykaas maakte van de imker en de jongeren in midden Vietnam die leren honing te verzamelen. Daarnaast zijn er verschillende werken van Madelon Hooykaas te zien, een kalligrafisch werk en een beeld van bijenwas van Hung Nguyen.
Met de expositie hoopt Madelon Hooykaas de toeschouwer na te laten denken over de huidige crisis waarin de bijenvolkeren verkeren door toedoen van de mensen.
Madelon Hooykaas, Facetime Buddha, hommage aan Nam June Paik, installatie, 2021
Madelon Hooykaas, To Be or not to Bee, video, 2020
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Screening: LIMA Presents: Barbara London, LAB111, Amsterdam (NL)
Wednesday, 11 May at LAB111, Amsterdam
Start: 19.30
LIMA is happy to present long-time MoMA curator Barbara London to talk about her book ‘Video Art/The First Fifty Years' and present recent works from the LIMA collection.
On Wednesday, 11 May, LIMA welcomes New York-based curator and writer Barbara London. During this program she will have a conversation with Karen Archey, curator contemporary art at the Stedelijk Museum, on her work with video art at the Museum of Modern Art in New York and her book ‘Video Art/The First Fifty Years’ (2020). This will be the first time her extensive book on video art will be presented in the Netherlands. In addition London has selected new works from LIMA’s distribution collection that will be screened.
The selected works include P-9830 by Michiel van Bakel, 2020, Section/Intersection 1 by Seoungho Cho, 2021, UNINVITED by Nye Thompson & UBERMORGEN.COM, 2021, Er is een geest van mij by Mateo Vega, 2021, and In the footsteps of Li Yuan-chia & Delia Derbyshire by Madelon Hooykaas, 2020.
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Screening at 68th International Short Film Festival Oberhausen
LUX Distributors' Screening
LUX will be presenting a selection of works distributed by LUX at the Distributors' Screening, an opportunity to delve into programmes curated by artists' moving image distributors around the world.
Selected works in the LUX Distributors' Screening on 7 May, 5PM (CET):
In the Footsteps of Li Yuan-Chia & Delia Derbyshire by Madelon Hooykaas / ZZZ by
Lucy Clout / Folds by Keira Greene / PHX [X is for Xylonite] by Frances Scott / On Venus by P. Staff / Me Myself and I by Stephen Dwoskin / The Rebirth of Sacred Cow Mixtape Trailer by Hardeep Pandhal
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Exhibition: META-LANDSCAPES: Representations and Perceptions at Valletta Contemporary, Valletta, Malta (MT)
28th April 2022 to 25th June 2022
Including As Above, so Below (2019) by Madelon Hooykaas
Curated by Chris Meigh-Andrews
An exhibition of moving image works by twelve renowned international artists.
Norbert Francis Attard (MT), Vince Briffa (MT), Robert Cahen (FR), peter campus (USA),Terry Flaxton (UK),Gary Hill (USA), Madelon Hooykaas (NL), Beryl Korot (USA), Chris Meigh-Andrews (UK), Michael Snow (CA), Yeoul Son (KR) and Steina Vasulka (IS/USA).
This exhibition is centred on the theme of landscape, presenting work by artists who have pioneered the electronic moving image as an art form. The intention is to present a diverse range of attitudes and approaches to the genre, featuring works that explore the potential of the moving image to represent subjective, emotional or imagined exterior spaces.
The exhibited art works incorporate or depict the artist’s personal, intellectual or cultural perspective through images of the natural world- often, but not always in juxtaposition to man-made artefacts or situations.
Installation view of Meta-Landscapes: Representations and Perceptions (2022) featuring work by Norbert Francis Attard (left) and Madelon Hooykaas (right)
This exhibition, including the documentation of As Above, so Below, is featured in the annual catalogue by Valletta Contemporary, which you can find here.
ISBN: 978-9918-0-0456-0
Link to video ___________________________________________________________________________
Several screenings in Coventry Cathedral, Coventry (GB)
March 4th 2022 - screening of ‘In the Footsteps of Li Yuan-chia & Delia Derbyshire’ by Madelon Hooykaas
March 5th 2022 - screening of ‘About Bridges’ and ‘One of These Days’ by Stansfield/Hooykaas
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2021
Solo Exhibition ‘Wheel of Life’ by Madelon Hooykaas in the Machinery of Me, Arnhem (NL)
3rd of October - 18th of December 2021
About:
Madelon Hooykaas (Maartensdijk, 1942) is a Dutch visual artist, photographer and filmmaker. Her video and photographic work often establishes pure relations with nature and explores scientific principles and natural forces. She combines contemporary technology with the use of natural materials.
Madelon Hooykaas has been working with the medium of photography since the 1960s and was one of the first visual artists to start using video as an artistic medium. She has built up an impressive oeuvre in this field. From the seventies, Hooykaas worked intensively with the Scottish visual artist Elsa Stansfield (1945-2004). As an artist duo, under the name Stansfield/Hooykaas, they realised their first video installations from 1975 onwards and gained fame as European video pioneers.
Hooykaas' work is part of important Dutch museum collections (including 15 leading works in the collection of Stedelijk Museum Amsterdam) and is included in the collections of the Museum of Modern Art (MoMA) New York, Tate Gallery London and National Gallery of Canada, among others.
For Machinery of Me Hooykaas produced three new artworks that are presented simultaneously in the two presentation spaces. The concept underlying the artworks establishes a link between the local ecology and the history of the location.
The exhibition has been made possible by contributions from the Mondriaan Fund, the Province of Gelderland and the Municipality of Arnhem.
Works shown:
Wheel of Life (2021), Echo (2021) and Resonance (2021)
Wheel of Life, image credit: Medea Huisman
Wheel of Life, image credit: Medea Huisman
Still from Resonance (2021)
Film (Dutch)
Film with Madelon Hooykaas about the exhibition, the process and the works
Link to film about the Wheel of Life exhibition
Podcast (Dutch)
Podcast about the exhibition ‘Wheel of Life’ in the Machinery of Me, published on the 17th of November 2021:
Interview at Metropolis M online (Dutch)
Written by Maarten Buser, published on the 4th of December, 2021:
Link to the webpage of the exhibition
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‘In the footsteps of Li Yuan-chia & Delia Derbyshire’ selected for the Ji.hlava film festival, Jihlava (CZ)
26 - 31st of October 2021
The film In the footsteps of Li Yuan-chia & Delia Derbyshire has been selected for the program of the 25th Ji.hlava International Documentary Film Festival, the largest festival of creative documentary in Central and Eastern Europe which will take place from October 26 to 31, 2021 in Jihlava, Czech Republic.
Screening of ‘In the footsteps of Li Yuan-chia & Delia Derbyshire’ and ‘To Be or not to Bee’ at La Pascasia, Medellin (CO)
On Wednesday October 20, the following films by Madelon Hooykaas were screened , in a cultural space called La Pascasia in the city of Medellin, Colombia:
Madelon Hooykaas - ‘In the footsteps of Li Yuan-chia & Delia Derbyshire’
Madelon Hooykaas - ‘To Be or not to Bee’
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Screening of ‘In the footsteps of Li Yuan-chia & Delia Derbyshire’ at LAB111, Amsterdam (NL) as part of LIMA’s New Works
On Wednesday the 22nd of September, ‘In the footsteps of Li Yuan-chia & Delia Derbyshire’ was screened at LAB111. During the course of this evening, LIMA presented new works from its distribution collection. The artists were present for a short Q&A. The evening was hosted by Theus Zwakhals.
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Residency at the Emily Harvey Foundation in Venice (IT), october 2021
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Solo Exhibition ‘Flying Time’ at Ileana Contemporary Art, New Farm, Brisbane (AUS)
1st of October 2021 - 29th of October 2021
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World premiere of ‘In the footsteps of Li Yuan Chia and Delia Debyshire’ at IFFR - International Film Festival Rotterdam (NL)
Festival duration: 1 till 7 February 2021; 2 till 6 June 2021
Screening 1: Thursday evening June 3rd from 7 pm - 8.52 pm during the program Dutch Panorama 2 in the cinema Kino 1 in Rotterdam.
Screening 2: Friday June 4th from 1.15 pm -2.42pm in Kino 4 in Rotterdam
Description of the work:
A poetic meditation honouring the friendship and creative working relationships between Madelon Hooykaas, Li Yuan-chia (†1994) and Delia Derbyshire (†2001). Inspired by the Japanese concept TEN-CHI-JIN, meaning sky-earth-person, it draws from images, text and sound by the three artists and footage from the Hubble Telescope. Soundtrack by Caro C.
Madelon HOOYKAAS (1942, Netherlands) is a visual artist and filmmaker. She studied under several Dutch photographers before she became a student at Ealing School of Art & Design in London. In collaboration with Scottish artist Elsa Stansfield, Hooykaas started making short films in 1972 on 16mm. From 1975, they started making video installations under the name of Stansfield/Hooykaas, producing over 150 films in 32 years. Nowadays they are regarded as European video pioneers, whose work is included in various prestigious museum collections, such as Tate Modern, MoMa and Stedelijk Museum.
Link to webpage of the film on IFFR
Interview
In the context of the festival, there was an interview held with Madelon Hooykaas, about the video work and the process:
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‘Delia Derbyshire: The Myths and the Legendary Tapes’ was shown on BBC4, also with Madelon Hooykaas
On May 16th 2021, 9pm
The docudrama about Delia Derbyshire, the well known electronic composer made by Caroline Catz will be shown on BBC FOUR May 16th at 9 pm ‘Delia Derbyshire: The Myths and the Legendary Tapes’; Link to the program
I also have a small part in this film. As you probably remember Elsa Stansfield and myself worked with Delia on several films in the seventies.
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2020
De Boeddhistische Blik: Dharma Nectar - Bijen en boeddhisme in Vietnam
Zondag 6 december 2020 om ca. 15.00 uur bij KRO-NCRV op NPO 2.
De film is te zien onder deze link
Beschrijving
Portret van Hung Nguyen, een Vietnamese zenboeddhist uit Nederland, die zijn kennis als imker in zijn moederland aan toekomstige generaties doceert. Hij laat hen zien hoe ze op duurzame wijze bijen kunnen houden en honing kunnen oogsten.
Hung heeft in 2016 het imkerproject in Pleiku opgezet, om enerzijds weeskinderen en dagarbeiders het imker ambacht bij te brengen, zodat ze inkomen kunnen vergaren met de verkoop van hun eigen honing. Anderzijds hoopt hij zo ook de natuur van centraal Vietnam te beschermen door het ecologisch evenwicht via de bestuivingen van bijen veilig te stellen.
Hung groeide op in Saigon en besloot als zeventienjarige te vluchten, omdat hij niet in het leger van het socialistische Vietnam wilde dienen. Hij vertrok in een klein bootje en dobberde met 66 bootvluchtelingen op zee. De motor had het begeven en na één dag hadden zij geen water meer. Op de derde dag heeft een Nederlands containerschip de vluchtelingen opgepikt. Zo is Hung Nguyen in 1980 in Nederland terecht gekomen. Van huis uit was hij rooms katholiek grootgebracht. Pas in Nederland is hij in contact gekomen met het boeddhisme van de Vietnamese zenmonnik en vredesactivist Thich Nhat Hanh.
Hung specialiseerde zich in ICT, maar zijn hart ligt bij de natuur. Hij volgde op latere leeftijd meerdere imkercursussen en geeft nu les in imkeren aan jongeren in het Wilhelminapark in Rijswijk. Hij financiert sociale projecten in Vietnam met de verkoop van de honing “Dharma Nectar” die hij daar oogst en hoopt zo iets terug te kunnen geven aan zijn geboorteland.
Tijdens de reis bezoekt hij ook de Tu Hieu Tempel in Hue, waar Thich Nhat Hanh als jonge monnik werd ingewijd en waar hij nu weer verblijft na zijn zware hersenbloeding in 2014.
Dharma Nectar is een documentaire van Madelon Hooykaas
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Screening of ‘In the footsteps of Li Yuan Chia and Delia Debyshire’ for Delia Derbyshire Day
Monday November 23rd 2020 was Delia Derbyshire Day
Delia was a pioneer in electronic music and created among many other works the tune for the film series Dr WHO. I was very fortunate to be able to work with her on several of my film projects. On the occasion of this DD Day you are able to view online from November 23-30 2020 the premiere of my film with music by Caro C.
Interview
An online interview with David Butler: Link to watch on YouTube
Link to the website DD Day 2020
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Exhibition: The World After: Conversation Pieces, Oude Kerk, Amsterdam (NL)
19th of September 2020 - 28 februari 2021
The Oude Kerk and Mister Motley invited 16 artists to respond to questions raised by the Covid-19 crisis. Their contributions, in the form of short films that were presented in an online project called The World After, clearly radiate the combination of insecurity and optimism that characterized the lockdown period. Jointly, the videos paint a telling picture of the unusual spring of 2020.
For The World After Madelon Hooykaas made a short film that focuses on bees, To Be Or Not To Bee (2020), in response to a news item about unexplained mass mortality of bees in northern Italy – the same region severely affected by the corona crisis. Hooykaas has been doing artistic research on bees for some time now. She refers to a prediction attributed to Einstein: if the bees die out, then humanity must start to worry. We know that bees are essential for cycles in nature. Why, then, do we do so little to protect them?
Madelon Hooykaas is known as a pioneer in the field of video and video installations. Between 1972 and 2004 she collaborated with Elsa Stansfield as the internationally renowned partnership Stansfield/Hooykaas. She has developed a comprehensive artistic practice related to her art and research through photography, film, installation and video, and interactive and performance art. Recurring themes are physical and human landscapes, water and light, memory and presence, loss and abstraction, and minimalism and formalism. In 2017 she developed the performance Virtual Walls II for the program Nachtelijke Dwalingen van de Oude Kerk.
Documentation of the exhibition:
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Premiere of the video ‘No Self’ at Strange Love Festival (online)
Experimental Film and Video Art at www.strangelovefestival.com
Premiere of the video ’No Self’ (60 sec.) by Madelon Hooykaas
This video shows different parts of myself: the artist, the filmmaker,
the writer and the shaman and my Buddhist belief that there is No Self.
Experimental film has a long and complex history, emerging during the inception of film technologies during the end of the 19th century and growing up in parallel with the more dominant forms of narrative and documentary. Whilst drawing on both these traditions, experimental film-makers and artists also sought to establish their own unique techniques and tropes, firmly rejecting what might be perceived as literary forms, in favour of the poetic and rhythmic potential of the medium as well as exploring the possibilities of abstraction and non-representation and the expression of alternative political ideologies.
Video art emerged much later, towards the middle of the twentieth century, initially as a direct response to television as a ubiquitous and dominant influence on the domestic landscape. Early work in the genre by artists centred on the rejection of conventional broadcast television and included efforts to create radical alternatives to the one-way diffusion of information and propaganda by governments and large corporations. During the 1970‘s and 80‘s, as television technology developed to include methods for the recording and editing of the video signal, artists and media activists took up the increasingly accessible and affordable equipment to explore the capabilities and potential of this electronic medium beyond the broadcast domain to alternative venues, including galleries and museums.
As video technologies and techniques improved to approach the flexibility and capabilities of film- especially once it became possible to process the video image digitally, the two forms have increasingly merged, sharing approaches and cross- fertilising two formerly distinct but related genres into what for many is now perhaps more accurately characterised as time based-media.
Chris Meigh-Andrews, May 2020
Programme 11: Experimental Film
Artists included in this selection: Andrew Demirjian (USA), Robert Cahen (France), Narsica Hirsch (Argentina) and Ruben Guzman (Argentina) Tessa Garland (UK), Masayuki Kwai (Japan), Vince Briffa (Malta), Madelon Hooykaas (Netherlands), Jacques Perconte (France), Stuart Moore & Kayla Parker (UK), Visual Brains (Sei Kazama & Ohtsue Hatsune) (Japan), Terry Flaxton (UK).
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CANCELLED Gallery Talk Nam June Paik with Madelon Hooykaas (EN)
Gallery talks — 6 May 2020
The exhibition Nam June Paik – The Future is Now gives an overview of the work of Nam June Paik (1932, Korea - US, 2006), one of the most visionary and influential pioneers of early video art. His work is multidisciplinary, experimental, innovative and playful, and of great influence to the generations that followed him. Paik was early to recognize the future impact of mass media and coined the term ‘electronic highway’, thus predicting the future of communication in the internet age. As Paik related art to technology, and East to West, he reflected on the influence of technology on globalization, and with that on our daily lives.
Location: Stedelijk Museum, Amsterdam
Time: 6 May 2020, 4 pm until 5 pm
Main language:English
This edition of the Gallery Talks series provides a unique opportunity to hear different perspectives on the work of Nam June Paik. Madelon Hooykaas is an artist who approaches Paik from her perspective.
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2019
Book release of ‘Pioneering Women in Video Art’ - Chapter 5 (written by Malcolm Dickson) is dedicated to the work of Stansfield/Hooykaas
ISBN: 9780 86196 743 6
European Women’s Video Art (EWVA)
This book is the main output of the Arts and Humanities Research Council funded research project 'EWVA European Women's Video Art in the 70s and 80s' which focused on the under-researched area of women artists' early video experimentation in the 1970s and 1980s within Europe. The research project consisted of the Principal Investigator, Professor Elaine Shemilt (DJCAD, University of Dundee), the Co-investigators Dr Laura Leuzzi and Professor Stephen Partridge.
Preface and Foreword from Laura Mulvey (feminist writer/filmmaker and inventor of the term ‘the male gaze’) and eminent theorist Professor Siegfried Zielinski
The book retraces some of the stories of early women artists' video experimentation in Europe, and their achievements, and will feature chapters on some fundamental case studies of European women artists' early video artworks to the benefit of academia and the general public. The book aims to contribute to reassess women artists’ involvement in early video art in strengthening their profiles and identities within the art historical canon.
Chapter 5: Slender Margins and Delicate Tensions: Projects by European Video Pioneers Stansfield/Hooykaas, written by Malcolm Dickson
Authors include: Jon Blackwood, Maeve Connolly, Cinzia Cremona, Sean Cubitt, Malcolm Dickson, Catherine Elwes, Slavko Kacunko, Marika Kuzmic, Laura Leuzzi, Adam Lockhart, Stephen Partridge, Lorella Scacco, Elaine Shemilt, Emile Shemilt. The volume will include chapters on themes and trends in early women artists' video in Europe including self-portraiture (Leuzzi), traces and the apparatus (Partridge), closed-circuit video (Kacunko), Nature/Urban (Lockhart), romance and eroticism (Cremona) and motherhood (Elwes).About Stansfield/Hooykaas, European video pioneers (Dickson)
Artists cited:
Abramovic , Marina; Ackerman, Chantal; Anderson, Laurie; Beban, Breda; Birnbaum, Dara; Borsari, Anna Valeria; Carlisle, Anne; Carnevale, Fulvia; Chicago, Judy; Cremona, Cinzia; Crilly, Anne; Dick, Vivienne; Dragan, Nusa; Elwes, Catherine; Fabyc, Deej; Finn-Kelcey, Rose; Fisher, Jean; Fowler, Joan; Frank Grahamsdaughter, Antonie; Freed, Hermine; Frenzel, Hanna; Goddard, Judith; González, Marisa; Gruber, Bettina; Gustowska, Izabella; Hakola, Marikki; Harkin, Margo; Hegarty, Frances; Heske, Marianne; Hiller, Susan; Hoover, Nan; Hooykaas, Madelon; Horn, Rebecca; Ikam, Catherine; Ivekovic, Sanja; Fabyc, Deej; Fisher, Jean; Fowler, Joan; Garrard, Rose; Keane, Tina; Kelly, Mary; Krikorian, Tamara; Kubisch, Christina; Kuchta, Klára; Les Reines Prochaines; Lindgren Cavallin, Katarina; Marangoni, Federica; Mathis, Muda; Meynell, Katharine; Natalia LL; O’Kelly, Alanna; Olesen, Muriel; Ono, Yoko; Pane, Gina; Parker, Jane; Pezold, Friederieke; Pipilotti Rist; Rhodes, Lis; Rosenbach, Ulrike; Schouten, Lydia; Soltau, Annegret; Stansfield, Elsa; Tallentire, Anne; Urch, Marion; Vasulka, Woody & Steina; Vedder, Maria; Wennberg, Teresa.
Book launches:
Book Launch Glasgow Women’s Library (Glasgow)
23rd November at 2:00 pm - 3:30 pm 2019
Q & A by Malcolm Dickson with Madelon Hooykaas, video artist from Amsterdam during the EWVA book launch
Book Launch Tate Modern (London)
September 24th at 7 pm
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Strandstoel (2001), Museum Beelden aan Zee, Scheveningen (NL)
Hoogste terras, Strandstoel door Hooykaas/Stansfield, aluminium en koper.
Verschenen in BAZ 29 (najaar 2019), geschreven door Dick van Broekhuizen
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Exhibition: ‘Everything is Round’ Centraal Museum Utrecht, Utrecht (NL)
8th of September 2019 - 19th of January 2020
In 'Everything is Round', Madelon Hooykaas and Louis Andriessen explore the relationship between the city of Utrecht, the nature it contains, and the surrounding universe. Both artists grew up in Utrecht; with this installation, they are revisiting the city of their childhood years.
In her video, Hooykaas alternates detailed footage of natural beauty in the city with images of the universe. The latter images were created with the support of Sonnenborgh Museum and Observatory, and are accompanied by the first-ever electronic composition by Andriessen and Peeters.
The art work is part of a series of works commissioned by Centraal Museum Utrecht, with the goal of letting visitors view the city through the eyes of an artist. The production of the video installation and composition was made possible by a generous contribution by the Mondriaan Fonds. Gaudeamus Muziekweek contributed to the creation of the composition. The work will be part of Centraal Museum’s permanent collection.
'Everything is Round’ will be on display from 8 September. A preview of the work is offered as part of the Centraal Laat programme on 5 September.
5 september om 17 uur 2019 in het Centraal Museum in Utrecht, a Q&A with Madelon Hooykaas, by the artistic director Bart Rutten.
Video installation by Madelon Hooykaas with a composition by Louis Andriessen and Malu Peeters.
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The Issue 12 of British Art Studies is out.
You can read it online here: http://www.britishartstudies.ac.uk/issues/issue-index/issue-12.
There are two very good articles where the work of Stansfield/Hooykaas is mentioned.
Cumbrian Cosmopolitanisms:
Li Yuan-chia and Friends
Article by Hammad Nasar
https://www.britishartstudies.ac.uk/issues/issue-index/issue-12/cumbrian-cosmopolitanisms
Whatever Happened to Delia Derbyshire?
Delia Derbyshire, Visual Art, and the Myth of her Post-BBC Activity
https://www.britishartstudies.ac.uk/issues/issue-index/issue-12/whatever-happened-delia-derbyshire
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Part of the program Memory Traces, Internationale Kurzfilmtage Oberhausen 2019, Oberhausen (GER)
Fr. 03.05. 20:00 – 21:30 Uhr
Link to webpage: Memory Traces
With an introduction by Dr. Renate Buschmann and Darija Šimunović, M.A.
Program:
Adnan Softić: Ground Control (1999−2009), 12:33 Min.
Adela Jušić: The Sniper (2007), 4:00 Min.
Robert Cahen: Juste le Temps (1983), 12:40 Min.
Doplgenger: Beneath a Starless Sky as Dark and Thick (2015), 15:20 Min.
Madelon Hooykaas / Elsa Stansfield: Re:location (1999), 15.47 Min.
RE:LOCATION(1999)
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Deel van de tentoonstelling ‘Stil’ in de Ketelfactory, Schiedam (NL)
26 januari-14 juli 2019
‘Stilte’ (deel van de serie ‘Deep listening’), een audio werk van Madelon Hooykaas berust op het idee dat stilte niet bestaat. Als assistent tijdens een workshop in 2012 van Pauline Oliveros (1932-2016), een componiste die veel met deep listening heeft gewerkt, is het idee ontstaan om een aantal geluidswerken te gaan ontwikkelen. In 2003 maakten Stansfield/Hooykaas het videowerk ‘Deep Looking’ en daaraan is ook gerelateerd het fenomeen deep listening, met aandacht luisteren.
Als men luistert naar ‘Stilte’ hoort men de magnetische deeltjes van de draaiende audiotape en om deze te horen moet men diep en met aandacht luisteren.
‘Stilte’(2019) deel van de serie ‘Deep listening’
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‘In the footsteps (of Li Yuan-Chia and Delia Derbyshire) - performance commission at Manchester Art Gallery, Manchester (GB)
Still from video “in the footsteps’ image: Madelon Hooykaas
A new performance commission at Manchester Art Gallery by Madelon Hooykaas (visual artist/ filmmaker) & Caro C (composer/sound artist)
Part of the exhibition: Speech Acts: Reflection- Imagination-Repetition
Performance to be premiered on Wed 6th March 2019 at 7 pm as part of LYC symposium March 6-7 2019 at Manchester Art Gallery.
http://manchesterartgallery.org/exhibitions-and-events/exhibition/speech-acts/
A collaborative performance by Madelon Hooykaas and Caro C inspired by
Li Yuan Chia and Delia Derbyshire.
Madelon Hooykaas - Moving image with live drawing & voice
Caro C - Live sound & music (piano, voice and electronics)
With a post-performance Q&A hosted by Dr David Butler (University of Manchester, Senior Lecturer in Drama and Screen Studies and lead researcher of Delia Derbyshire Archive).
This commission has been supported by LYC Foundation.
Here is the teaser of the performance:
Artist info
Madelon Hooykaas is a pioneer of European video art and an internationally recognised visual artist, filmmaker and performance artist based in Amsterdam, NL.
Caro C is an (electronic music) composer based in Manchester, UK. Caro is also instigator and project manager of Delia Derbyshire Day, a charitable organisation centered around the archive of Delia Derbyshire held at John Rylands Library in Manchester, UK.
Delia Derbyshire (1937-2001) was a pioneer of electronic music in UK whose most famous work is her iconic realization of the original Dr Who theme in 1963.
Li Yuan-chia (1929-1994) was a Chinese visual artist and founder of the LYC Museum in Cumbria (1971-1982).
http://carocsound.com/ https://deliaderbyshireday.com/ http://lycfoundation.org
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2018
Exhibition: ‘Speech Acts: Reflection - Imagination - Repetition’, Manchester Art Gallery, Manchester (GB)
24 May 2018-22 April 2019
With ‘Point in Time’ (1987), Video, by Stansfield/Hooykaas
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Exhibition: ‘Vrouwen van Museum Gouda’, Museum Gouda (NL)
13th of May 2018 - 27th of January 2019
With ‘Compass’ (1984), Stansfield/Hooykaas
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Solo exhibition: ‘VIRTUAL WALLS. REAL WALLS’, Horsecross Arts, Perth, Scotland (GB)
14 May – 26 Jul 2018
Curated by Laura Leuzzi and Iliyana Nedkova
About the artist
Madelon Hooykaas (born Maartensdijk, 1942) ought to be acknowledged as one of the most representative visual artists in Europe for her enduring and pioneering experimentation in contemporary art. Since the 1960s, Hooykaas has developed a rigorous artistic practice and visual research in photography and film, installation and video, interactive and performance art. Her works revolve around the recurring themes of physical and human landscapes, water and light, memory and mindfulness, loss and abstraction, minimalism and formalism.
This first solo exhibition in the UK brings to Perth her new performative drawing projects and her latest films and videos with a fine selection of works now acquired for the museum collection of contemporary art here at Threshold artspace.
The exhibition takes its title from Hooykaas’ latest performance Virtual Walls | Real Walls (2017-18). After its successful iterations in Venice, Amsterdam and Berlin, the performance arrives to Perth to question our perceptions of walls as barriers and symbols of both confinement and unification. Hooykaas’ project traces virtual walls as a form of ‘civic acupuncture’ in an attempt to cure and protect cities and stimulate regeneration.
From 1972 to 2004 Hooykaas collaborated with Elsa Stansfield (born Glasgow, 1945, died Amsterdam, 2004) under the widely acclaimed artistic partnership Stansfield/Hooykaas. They worked at the forefront of video and video environments/installations as a new art form and went on to exhibit internationally. Their work is in many prestigious public and private collections across Europe and the USA including the Tate, London; MuHKA, Antwerp; GOMA, Glasgow, MOMA, New York and now Threshold artspace, Perth. Hooykaas lives and works in Amsterdam.
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Screenings 2018
- USA, Fitchburg, Gallery Sitka (20 October) (FEMALE)
- USA - Galatea Gallery in Boston (March 24) (FEMALE)
- Ireland, Galway, the Galway Arts Centre (6 January) (FEMALE)
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‘Buddha to be, Een portret van Sister Chân Không’
Een film van Madelon Hooykaas | 30 minuten
Filmmaker Madelon Hooykaas kreeg toestemming om een portret van de boeddhistische geëngageerde non en vredesactivist Sister Chân Không te filmen tijdens een verblijf in Plum Village in Frankrijk.
Sister Chân Không is geboren in Vietnam en werkt al vanaf de jaren zeventig samen met Thich Nhat Hanh (Thay) om het boeddhistische gedachtegoed over te brengen naar het Westen. Als oudste non in Plum Village speelt zij nu een prominente rol als spiritueel leider sinds Thay na een hersenbloeding niet langer actief is. Ze zet zich in voor een leven in aandacht en probeert in de maatschappij sociale verbetering mogelijk te maken.
Aan de hand van unieke foto’s uit het leven van deze Boeddhiste spreekt Sister Chân Không over haar tijd in Vietnam, waar ze als jonge vrouw zich inzette om hongerige kinderen in achterstandswijken te helpen en hoe de oorlog aanleiding werd voor haar vredeswerk. Nadat zij samen met Thay deel heeft genomen aan de Parijse Vredesbespreking over de oorlog in Vietnam, worden ze beiden verbannen uit Vietnam en mogen ze pas na 39 jaar weer terugkeren naar hun geboorteland. Hierop vestigen zij zich in Frankrijk waar ze het eerste kleine retraitecentrum ‘Sweet Potatoes’ opzetten, maar wanneer dit al snel te klein blijkt, naar Zuid-Frankrijk verhuizen waar ze het grote en populaire centrum Plum Village oprichten.
De uitzending van de film valt bijna samen met Sister Chân Khôngs tachtigste verjaardag op 9 april.
Productie, regie, camera en geluid: Madelon Hooykaas in opdracht van De Boeddhistische Blik van KRO-NCRV ©2018
Uitzending zondag 8 april 2018, 15.50 uur NPO2
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Performance: ‘VIRTUAL WALLS / REAL WALLS’, Scotty, Berlin (DE)
Friday, February 23th, 2018, 7 pm
At Scotty, an artist-run project space located in Kreuzberg, Oranienstrasse, and is organized by 9 artists (www.scotty-enterprises.de)
A performance with audio/video projection and live drawing
by the Dutch artist Madelon Hooykaas
The performance sequence started on September 28, 2017 in Venice and continued on December 21 in Amsterdam. The subject of the performances ‘Virtual Walls’ is the upset balance between the numbers of tourists and the residents of both cities. With the event ‘Real Walls’ at the project space Scotty, the artist is questioning the function of walls nowadays. Are walls to protect ourselves from outside dangers or are they there also to stop our own aggression? And are we creating with the current refuge problem a new Fort Europa? For Berlin, where a wall played such a prominent role for a long time, this performance will be even more relevant and I hope that the public becomes more conscious of walls around the world at the present moment.
Madelon Hooykaas is an international known visual artist, performer and film maker based in Amsterdam. She worked in collaboration with the Scottish artist Elsa Stansfield from 1972 untill 2004 when Elsa unexpected died. They are known as European video pioneers and their work is in the collection of mayor museum as Moma New York, Tate Gallery, London, Stedelijk Museum, Amsterdam. They participated in many solo and group exhibitions around the world, in New York, Montreal, Tokyo, and Sydney. Since 2007 Madelon continues the work under her own name.
Documentation on Vimeo:
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Screening programme: ‘What you see is what you get’, Anthology Film Archives New York (US)
Tuesday, February 13, 7 pm
At Flaherty NYC, programmed by Almudena Escobar López & Herb Shellenberger
With:
ABOUT BRIDGES
Elsa Stansfield & Madelon Hooykaas
(1975, Netherlands, 16mm, 22 min)
(Image: source Collection EYE Filmmuseum)
“It all begins with how you feel on a bridge… You see how other people are busy and how you experience it yourself and so it becomes something about people.” The artist Marian Plug speaks to filmmakers Stansfield/Hooykaas while composing her large and intricate silk screen “The Bridge.” After filming the many different types of bridges around Amsterdam, they interview workers who clean, paint and repair the bridges.
Anchored by a buoyant electronic soundtrack by British composer Delia Derbyshire (known for her groundbreaking work with the BBC Radiophonic Workshop), the filmmakers brought Derbyshire to Amsterdam for the shoot, so that they might create ideas together and so that she could experience the rhythms of the city. The film explores different ideas of work, connection and positioning: a bridge means something different to a builder, an architect or someone walking over it.
(Photo: Elsa and Madelon in front of the video sculpture “Turning Point.”)
FILMMAKERS: Elsa Stansfield (1945-2004) and Madelon Hooykaas (1942) are a Scottish-Dutch artist duo who began an intense collaboration between London and Amsterdam in 1972. Their wide-ranging work in film, video, installation, photography, sound and other media has been exhibited in many major museum and has earned them the reputation as pioneers of European video art. A short list of solo exhibitions includes Whitechapel Gallery (London, 1976), The Kitchen (New York, 1980), CCA (Glasgow, 2010) and most recently M HKA (Antwerp, 2017), where their video installation Labyrinth of Lines (1978) was reconstructed. Labyrinth of Lines is one of several works made in collaboration with British sound artist Delia Derbyshire, including About Bridges (1975) which has been restored by EYE Filmmuseum, Amsterdam. Today, Hooykaas continues a prolific output of work in many different media.
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2017
Performance: ‘VIRTUAL WALLS II’, Oude Kerk, Amsterdam (NL)
21 December 2017 at 8 PM
Performance with live drawing and video projection by Madelon Hooykaas.
Investigation about the upset balance between the numbers of tourists and the residents in the centre of Amsterdam. Followed by an artist talk with Madelon Hooykaas moderated by Jacqueline Grandjean, director of the Oude Kerk.
Documentation of performance:
https://www.youtube.com/watch?v=Mk8bZzPAjR8&feature=youtu.be
Artist talk in Dutch:
https://www.youtube.com/watch?v=SWjXd3UenMg&feature=youtu.be
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Performance: ‘VIRTUAL WALLS I’, Archivio Emily Harvey, Venice, Italy (IT)
28 September 2017 at 6 PM
Archivio Emily Harvey, San Polo 387, I-30125 Venezia, Italy
Performance with live drawing and audio/video projection, telescope with stand
Investigation about the balance between the amount of tourists in relation to the number of inhabitants in Venice
First of a series of one year performances starting in Venice.
Documentation on Vimeo:
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Residency at the Emily Harvey Foundation in Venice (IT), september 2017
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Re-installation of ‘LABYRINTH OF LINES’ by Stansfield/Hooykaas, at INBOX, M HKA, Museum of Contemporary Art Antwerp (BE)
Opening on the 19th of October 2017 at 7 PM ANTWERP, BELGIUM
M HKA, Leuvenstraat 32, 2000 Antwerp, Belgium
LABYRINTH OF LINES (1978)
A video environment by Stansfield/Hooykaas
2 video tapes, 12 monitors and a closed-circuit video installation, 14 black-and-white photos printed on linen, water barrel, mirror, leaves and lead wire
Sound: Delia Derbyshire
Donation: Foundation Stansfield/Hooykaas
Collection: M HKA
European video pioneers Elsa Stansfield (1945-2004) and Madelon Hooykaas (1942) were invited in 1978 by Flor Bex, then director of the Internationaal Cultureel Centrum (ICC) in Antwerp, to present a new video environment, made-to-measure for the 'horse stables' of the Palace on the Meir.
The video recordings for this audio-video-photo work took place along the Scheldt, during a stay in Antwerp, and were further developed in their studio in Amsterdam.
The installations' content, realised by Stansfield/Hooykaas during their collaboration (1972-2004), was often determined by the environment in which the works were shown. In Labyrinth of Lines, nature enters in the form of autumn leaves that slowly curl up, just like the pictures of video stills that were printed on linen and dispersed in the exhibition space. On the floor, you'll find the title's labyrinth, 'drawn' in lead wire. Visitors are invited to become a part of the whole through the live video camera.
Historically, this work is of great importance. Firstly, of course, as part of the Stansfield/ Hooykaas oeuvre, but above all because of the use of many different sizes and types of monitors. When the work was first installed, this variety of technology was unique. Now, 39 years later, the reinstalment of the work poses a challenge, since the old video technology will be re-used.
The reinstalment of this video environment has been realised in collaboration with Madelon Hooykaas.
At 19:00 during the preview on 19.10.2017, Bart Rutten, director of Centraal Museum in Utrecht, will have a conversation with the artist.
Subsequently, Hooykaas will perform GRID in the M HKAFE (19:45). During the exhibition period, the performance's remainders – a charcoal drawing on the wall and a video recording of the performance – will be shown in the M HKAFE.
Link to the artist talk in Dutch with Madelon Hooykaas moderated by Bart Rutten
Link to the performative drawing with video ‘GRID’ by Madelon Hooykaas
Exhibition till 12 November 2017
‘LABYRINTH OF LINES’ by Stansfield/Hooykaas
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Screening: VIDEO BOX 5.2, ‘REVEALING THE INVISIBLE’ - video works by Stansfield/Hooykaas and Madelon Hooykaas, Haus der Universität Düsseldorf (GER)
23 November 2017 at 7-8.30 PM
Organized by IMAI - intermedia art institute,
Curated by Darija Šimunović, M.A.
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Exhibition: Please Turn Us On - part II, Gallery of Modern Art, Glasgow (GB)
8th April – 31st May 2017
Carole Roussopoulos, Heather Phillipson, Stansfield/Hooykaas, Susan Mogul
Please Turn Us On pt II continues the dialogue between early video art and international countercultures. Stansfield/Hooykaas’ What’s It To You (1975) and Heather Phillipson’s You Can Use Your Smartphone (2014) remain from Please Turn Us On pt I and are accompanied by two works exploring video technology’s importance to radical feminist groups in the early 1970s.
What’s It To You? is a pioneering work by artist duo Elsa Stansfield and Madelon Hooykaas. Made in Glasgow, using the Third Eye Centre’s video equipment, What’s It To You? allowed the local community to directly respond to this groundbreaking technology.
Original photographs and archive materials from the project offer insight into artists’ approach to early video. Alongside are two politically engaged and unconventional films whose relevance in the political climate of 2017 should not be underestimated.
Carole Roussopoulos’s Le F.H.A.R. (1971) and Susan Mogul’s Feminist Studio Workshop Videoletter (1975) explore how important social and political groups grabbed hold of video tech to capture, chronicle and share their message.
The commission by British artist Heather Phillipson questions the place of countercultures in the 21st century and how the normalisation of video recording has affected contemporary society.
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Screenings 2017
- Nicosia, Cyprus, D.I.Y. [Dutch It Yourself]—Experimental Film in The Netherlands 2017 Images and Views of Alternative Cinema, Nicosia, Cyprus at the Weaving Mill on Saturday, June 17, 2017. Presented in collaboration with the EYE Filmmuseum (Amsterdam). With Daydreams (1972) by Stansfield/Hooykaas
- BFI, London July 12, 2017, Tribute to Delia Derbyshire on the occasion of Delia’s 80th birthday! Overbruggen/About Bridges (1975) by Stansfield/Hooykaas
- Medrar for Contemporary Art, Cairo, Egypt. August 24, 2017 - Wheel of Life
- Ethiopia, Addis Ababa, Addis Video Art Festival (Dec 24 - January 3 2018) (FEMALE)
- Ireland, Burren College of Art, Ballyvaughan Co. Clare Ireland (FEMALE) (October 4th)
- Argentina, Corientes - Play, Semana de Videoarte (22-29 September) (FEMALE)
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2016
Film: Holy Isle, een boeddhistisch heiligdom in Schotland.
Uitzending: 6 november 2016, 15:30 op NPO2
Herhaling: 12 november 2016, 07:55 op NPO2
Scenario en regie: Madelon Hooykaas
Holy Isle is een uniek klein ‘heilig’ eiland dat ligt aan de westkust van Schotland.
Madelon Hooykaas filmde een poëtische impressie van het eiland waar
spiritualiteit en ecologie op een natuurlijke wijze samen gaan.
Lama Yeshe Rinpoche, de abt van Holy Isle, vertelt over zijn droom om van dit eiland een heilige plek te maken. Niet alleen voor boeddhisten, maar ook voor een interreligieuze gemeenschap. Sinds 1992 is het eiland in bezit van de Rokpa Trust, een organisatie die behoort tot de Kagyu school van het Tibetaans boeddhisme. Madelon Hooykaas is zelf boeddhist en kreeg de gelegenheid om deze film te realiseren.
De film toont een poëtische impressie van het eiland: de bijzondere dieren die er leven en de inheemse bomen die speciaal geplant zijn. Lama Yeshe Rinpoche en de boeddhistische non Ani Lhamo vertellen over hun visie voor het eiland. Op het eiland worden ook cursussen gegeven en boeddhistische retraites georganiseerd. Maar iedereen is welkom op het eiland. Tot slot zegt Lama Yeshe: “Mijn boodschap voor de wereld is: maak de geest beter en daarmee ook de wereld.”
Holy Isle is een productie van de boeddhistische stroming bij de KRO-NCRV.
Scenario en regie: Madelon Hooykaas
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Exhibition: Please Turn Us On, Gallery of Modern Art, Glasgow (GB)
GALLERY 3
28 July 2016- 22 January 2017
Arthur Ginsberg with Video Free America, Heather Phillipson, Stansfield/Hooykaas, Videofreex
Please Turn Us On places Glasgow at the centre of a dialogue between early video art and international counterculture. Stansfield/Hooykaas’ What’s It To You? is presented in direct conversation with three other projects that play on themes explored in this seminal, Glasgow-made work.
Elsa Stansfield (b. Glasgow, 1945, d. Amsterdam, 2004) and Madelon Hooykaas (b. Maartensdijk, 1942) worked at the genesis of time-based practice, with the pair quick to realise the potential of video as an art form and as a communication tool. Shown at Glasgow’s The Third Eye Centre for a week in 1975,
What’s It To You? was the first installation of its kind ever to be seen in Glasgow. During its original showing the work combined recorded and live film with photography and text. It was truly an interactive work, with audience engagement at its very core. The public’s changing responses to being filmed and questioned gave the work a different meaning with each viewing.
What’s It To You? (1975) by Stansfield/Hooykaas
Using a combination of media to offer multiple readings of the work became a staple throughout Stansfield/Hooykaas’ rich career. Keen not to have the authoritative voice within their work, rather they attempted to use new video tape technology to break down social hierarchies and democratise the act of looking at and making artworks. It was through these means that What’s It To You? put Glasgow in communication with other counterculture movements across the globe.
Similarly dynamic projects were taking place across America. In Greetings from Lanesville Videofreex brought their brand of guerrilla broadcasting to Upstate New York. Their Lanesville TV was the first localised, pirate television station in the world. It featured interviews with the rural community, audience phone-ins and dramatic news reports. Videofreex helped to create a portrait of the local community, made by the local community. This happened at a time of great social and political turmoil, when many people didn’t feel like their attitudes were being fairly represented by traditional media. Lanesville TV offered a much-needed alternative voice and paved the way for modern, user-generated broadcasting.
As Stansfield/Hooykaas and Videofreex worked with our shared public experiences, The Continuing Story of Carel and Ferd anticipated the camera’s ability to enter into the most personal parts of our lives. Between 1970 and 1972 director Arthur Ginsberg filmed the not-so-average daily lives of soon-to-be-wed Carel Rowe and Ferd Eggan. This precursor to reality television documents the couple’s changing desires and the drastic evolution of their relationship while living their lives in front of the camera. It is an early warning about the risks of living too close to an electronic medium.
Running through the exhibition is a new commission by London-based artist Heather Phillipson, bringing the issues raised by Stansfield/Hooykaas, Videofreex and Arthur Ginsberg into the contemporary. By focusing on the historical elements of Please Turn Us On through her work, Phillipson suggests that despite the current ubiquitousness of personal filming equipment our understanding of its consequences hasn’t developed all that much in the last four decades.
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Exhibition: ‘Reports from the Year of the Monkey’, Punt WG, Amsterdam (NL)
Exhibition of work by Madelon Hooykaas, Saskia Janssen and Emily Bates at Punt WG, Amsterdam.
Opening Saturday April 30 from 5-7 pm with a performance by Madelon Hooykaas
Here is the link to my performative drawing with the video projection of Grid
Picture of the exhibition of the work by Madelon Hooykaas
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Screening at Rome Media Art Festival, Rome (IT)
Rome Media Art festival presents a screening by EWVA European Women's Video Art in the 70s and 80s.
With: Madelon Hooykaas/Elsa Stansfield, Split Seconds, 1979, video, 10m 37s
13th to 17th of April 2016
MAXXI National Museum of the 21st Century Arts, Rome
EWVA will be participating at the Media Art Festival in Rome. This takes the form of a screening programme held at MAXXI National Museum of the 21st Century Arts, Rome.
The selection includes artworks by some of the most influential European women artists who were video pioneers in the 1970s and 1980s. A broad range of topics and approaches to video will be shown. These include experimentation exploring the possibilities of the medium, video installation, multi-media and performance. Featured artists: Anna Valeria Borsari, Antonie Frank Grahamsdaughter, Madelon Hooykaas, Živa Kraus, Federica Marangoni, Elaine Shemilt, Annegret Soltau, Elsa Stansfield
Curated by Laura Leuzzi
Technical support by Adam Lockhart
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Exhibition: The 1980s. Today’s Beginnings? an alternative view on the 1980s, Van Abbe Museum, Eindhoven (NL)
16.04-25-09.2016
with work by Stansfield/Hooykaas
The 1980s. Beginnings of the Now? is an exploration of the 1980s from six European perspectives. The diverse mix of artworks, music, television clips, printed matter and archival material shows a range of socio-political themes through cultural developments. The various presentations show actions from counterculture and analyze their role in a period of change in the state system. Culture was central to responding to or predicting profound social change. Europe was in transition and key moments in identity formation and self-organization of the recent past form micro-histories for the research. Some of the material comes from partners of the museum confederation L'Internationale, supplemented by research by curators of the Van Abbemuseum
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Screening: Delia Derbyshire Day on January 17th 2016 at HOME in Manchester (GB)
Showing of the film ‘One of these days’(1973) by Stansfield/Hooykaas
and Q & A by Madelon Hooykaas
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Screenings 2016
- Iran, Isfahan, Aknoon Gallery, November 18-29 with ‘Connecting the Invisible’
- Kazakhstan, Almaty, Tengri Umai Art-Gallery, September 22th (FEMALE)
- Argentina, Corientes - Play, Semana de Videoarte (September 16-27) (PREO)
- Lithuania, "Kaunas in Art", Cinema Center Romuva and Gallery POST(September-October) (FEMALE)
- Iran, Tehran - Azad Art Gallery (August 19-21) (FEMALE)
- Argentina, Museo de la Mujer (10th June) (FEMALE)
- Senegal, Dak'Art Biennale, (May 3-June 10) (FEMALE)
- Puerto-Ricco, Area Lugar de Proyectos (March 5, 2016) (FEMALE)
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Screening: Alternative Film/Video Belgrade - Art Movements, Belgrad (RS)
7.12 - 11.12.2016
Daydreams by Elsa Stansfield/Madelon Hooykaas, 1972, 8 min, 16 mm, was screened as part of the program EYE in Belgrad: Dutch post war experimental avant garde
Restored Dutch experimental films from the EYE collection will receive international attention at the Belgrade Alternative Film/Video festival, running from the 7th until the 11th of December.
EYE curator Simona MonizzaI will present a program with a selection of films from the period 1966 – 1994.
Tulips Wim van der Linden/Wim T. Schippers 1966, 3 min 16mm
Birds Frans Zwartjes 1968 5 min 35 mm
Daydreams Elsa Stansfield/Madelon Hooykaas 1972 8 min 16mm
Touring Holland by Bicycle Paul de Nooijer/Jerry Musser 1981 3 min 16mm
Case of the Spiral Staircase Karin Wiertz/Jacques Verbeek 1981 3 min 35mm
Song for Four Hands Barbara Meter 1970 4 min 16mm
Rubbish, Matthijn Seip 1972 13 min 16mm
Re-Action in A Noud Heerkens 1979 5 min 16mm
Oblique Maarten Visser 1980 3 min 35mm
Space Modulation Bart Vegter 1994 1 min 16mm
#3, Joost Rekveld 1994 4 min 16mm
Ruby is the One Earth and Fire 1970 3 min 35mm
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2015
Installation of LIGHT and exhibition MEDITATION, Chapel next to the museum of Religious Art in Uden, NL
Premiere of ‘LIGHT’, a special commissioned video installation for the Chapel next to the Museum of Religious Art in Uden on October 3,2015.
Exhibition “MEDITATION” at the Museum till February 6,2016
Dutch text:
Tentoonstelling 'Meditatie'
3 oktober 2015 tot en met 3 januari 2016
Steeds meer mensen zoeken naar bezinning en spiritualiteit. Ze vinden die in de kerken maar ook daarbuiten, bij yoga, zen en andere meditatievormen. Mindfulness is inmiddels doorgedrongen tot de kringen van bankiers en zakenlieden. Aan dit bijzonder populaire fenomeen is in het Museum voor Religieuze Kunst (MRK) in Uden een veelzijdige expositie gewijd met werken van o.a. Marina Abramovic en Alexej von Jawlenksy.
Abdij
Meditatie is van oudsher verbonden met de locatie van het museum, het kloostercomplex van de Birgittinessen. Het middeleeuwse kunstpatrimonium van de zusters - eigendom van de abdij en bruiklenen van het Rijksmuseum - bevat veel onderdelen die in een directe relatie staan tot de meditatie van de bewoners van het klooster. De beeldcultuur die naar aanleiding hiervan is ontstaan, vormt het begin van de expositie.
De zusters borduren daarnaast harten. Ze kunnen helpen de pijn te verlichten van baby’s met doorkomende tanden. Dit meditatieve handwerken is door kunstenaar Birgitta de Vos vertaald naar de expositie. Onder haar leiding hebben ouderen en jongeren honderden harten gemaakt die deel uitmaken van de tentoonstelling.
Expositie
De expositie toont werken uit uiteenlopende tijden en culturen. Lotusmodel van Daan Roosegaarde zet de toon: de lotus opent zich als de toeschouwer ‘zich opent’. Daarna volgt een rondgang langs hindoeïstische yantra’s, middeleeuwse beelden, iconen, Boeddhabeelden en hedendaagse kunst. Van een grote intensiteit is het op het gelaat van Christus geïnspireerde Meditation van Alexej von Jawlensky, een bruikleen van het museum uit Dortmund. De expositie komt tot een climax in de video-installatie met 108 mediterende monniken uit Tibet van Marina Abramovic.
Kapel: Van dinsdag t/m zaterdag wordt tussen 13.30 en 15.00 uur in de kapel van de zusters de video LICHT getoond, die Madelon Hooykaas speciaal voor de expositie heeft gemaakt.
Deelnemende kunstenaars
Marina Abramovic, Narda Beunders – Aldo van Eyck, Caren van Herwaarden, Madelon Hooykaas, Saskia Janssen, Sjaak Langenberg & Rosé de Beer, Studio Daan Roosegaarde, Roland Schimmel, Rob Sweere, Birgitta de Vos.
Publicatie
Bij de expositie verschijnt een gelijknamige publicatie (Uitgeverij BerneMedia) waarin de achtergronden van meditatie en de expositie nader worden belicht. Prijs: €17,50.
Activiteiten
De expositie gaat vergezeld van een uitgebreid activiteitenprogramma, waaronder yoga-, meditatie- en mindfulness kennismakingscursussen en ‘hart-werkmiddagen’.
Tentoonstelling Meditatie: 3 oktober 2015 tot en 3 januari 2016
MRK Uden | Veghelsedijk 25, 5401 PB Uden |
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Artist-in residence at the Emily Harvey Foundation in Venice from August 27 till September 25, 2015
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Screenings 2015:
- Galleria Huuto - space Pikkujätkä, Helsinki, Finland, 15 June-5 July (groep)
- Espacio Puerta, Bilbao, Spain, with Connecting the Invisible, 10 June
- Dokukino , Zagreb, Croatia, with Connecting the Invisible, 30 May
- Mamia Bretesche Gallery, Paris, France, 4-11 April
- Le Cube , Issy Les Moulineaux, France, with Connecting the Invisible, 2 April
- Palais des Beaux Arts, Lille, France, with Connecting the Invisible, 14 April
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Podcast van de BOSrtv in het Nederlands met Madelon Hooykaas 24 juni 2015
Niet beschikbaar
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Boek: ‘De kunst van het opnieuw beginnen’, van Madelon Hooykaas en Dorothea Franck
juni 2015
Beeldend kunstenaar Madelon Hooykaas vroeg filosoof en schrijver Dorothea Franck van gedachten te wisselen over ‘opnieuw beginnen.’ Beiden zijn op een punt aangekomen om opnieuw te beginnen, maar kan dat eigenlijk wel? De geest is geen onbeschreven blad en de tijd is een verzamelaar. Wat doet er écht toe als je opnieuw wilt beginnen, vroegen zij zich af. Met aandacht leven, nieuwsgierig blijven, je bewust zijn van wat het leven je aanreikt en daar ‘ja’ tegen zeggen. Hooykaas en Franck schrijven over durven veranderen, reislust, boeddhisme en reflectie, over verwondering en beeldende kunst, en over het geluk van de kijker en de rijkdom van je dagen.
‘Madelon Hooykaas heeft aan de ene kant een gevoeligheid en verfijnde waarneming en aan de andere kant een heldere doortastende en aardse manier van werken’
Dorothea Franck
Madelon Hooykaas (1942) is een internationaal bekend beeldend kunstenaar en filmmaker, die van 1972-2004 samenwerkte met Elsa Stansfield. Hun werk bevindt zich onder meer in de collecties van het Stedelijk Museum Amsterdam en het MoMA in New York. Eerder verscheen over hun oeuvre ‘Revealing the Invisible – The Art of Stansfield/Hooykaas’ bij Uitgeverij de Buitenkant.
‘Dorothea Franck is een origineel denker met een avontuurlijke geest en zij schrijft fascinerende beschouwingen.’
Madelon Hooykaas
Dorothea Franck (1948) schrijft over filosofie, poëzie, literatuur en de beeldende kunsten. Zij doceerde algemene taalwetenschap aan de Universiteit van Amsterdam en semiotiek aan de afdeling ‘Beeld en Geluid’ van het Conservatorium in Den Haag. Zij schreef diverse diepgaande essays over beeldend kunstenaars.
Madelon Hooykaas en Dorothea Franck
‘De kunst van het opnieuw beginnen’
Uitgeverij de Buitenkant, Amsterdam
140 pagina’s met kleurenafbeeldingen, genaaid gebrocheerd
ISBN 978 94 90913 /€14,50
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Performance: EI MARCH 2015 PERFORMANCE SERIES, New York (USA)
Madelon Hooykaas presents her work on the EI March 2015 Performance Series on March 13 and March 19
Madelon Hooykaas (Netherlands) A Video Event - March 13
This evening will consist of live drawing in combination with video projection and sound of several new works; the second part will be a dual screen piece of my newest project about blind female shamans in Japan; my work deals with the relation between nature, spirituality and the invisible.
Phill Niblock, curator
Live drawing performance with a video projection of ‘GRID’(2015)
at EI MARCH 2015 PERFORMANCE SERIES
Madelon Hooykaas (Netherlands) Meet The Maker - March 19
A presentation of new work by independent media artist Madelon Hooykaas.
New York Public Library for the Performing Arts,
Dorothy and Lewis B. Cullman Center,
Third Floor Screening Room
40 Lincoln Center Plaza (66th street)
New York, NY, 10023
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Exhibition: Collectie opstelling hedendaagse kunst Bonnefanten Museum Maastricht, NL
30.01.2015 – 20.09.2015
Seeing through lines - Stansfield/Hooykaas (1978) - Image credit: Niek Hendrix
In deze bijzondere verzameling met bijna veertig hedendaagse kunstwerken is een aantal nieuwe aanwinsten te zien die nog niet eerder werden getoond. Onder deze nieuwe aanwinsten schitteren topstukken als een spectaculair wandtapijt van Grayson Perry, een sculptuur van Michael Dean, een video-installatie van Stansfield/Hooykaas en een schilderij van Bob Eikelboom.
Stansfield/Hooykaas – See through lines
See through lines (1978) is een video environment van het kunstenaarsduo Stansfield/Hooykaas. Vanaf 1972 werkten de Schotse Elsa Stansfield en de Nederlandse Madelon Hooykaas samen aan projecten met een spirituele inslag waarin hedendaagse technologie zoals film, audio en video een relatie aangaat met natuurkrachten en aardse materialen zoals zand, glas en koper. Onder de naam Stansfield/Hooykaas realiseerden zij vanaf 1975 hun eerste video-installaties en verwierven grote bekendheid als Europese videopioniers. Tijdens hun 32-jarige samenwerking creëerden Stansfield/Hooykaas ruim honderdvijftig kunstwerken. Bijzonder is dat er een link is naar de Maastrichtse Van Eyck waar Elsa Stansfield in de jaren tachtig hoofd van de videoafdeling was. Dit werk werd verworven door middel van een schenking.
Seeing through lines - Stansfield/Hooykaas (1978), image credit: Bonnefanten Museum
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2014
Screening at the Buddhist Film Festival Europe, EYE Filmmuseum, Amsterdam (NL)
October 4th at 15.00 at the EYE Filmmuseum in Amsterdam
Seeing in the Dark
In search of the last blind shamans in Japan (English version)
Link to the film (English)
Part of the new series Artist in Focus: Madelon Hooykaas, Revealing the Invisible
One of the meanings of the word shaman is “those who see in the dark”. In the North East of Japan they are called itako’s. Consulting an itako is a deeply rooted tradition in the Japanese culture. People use shamans to find answers to questions about life, to heal body and mind and to communicate with the deceased. Traditionally blind people followed this vocation as a life’s mission. Filmmaker Madelon Hooykaas, herself a practicing shaman travelled to Japan to visit blind female shamans. They have a space for consultation at the Buddhist temple Bodai-ji at mount Osore, literally “the Mountain of Fear”. The mountain, surrounded by boiling sulphur springs and mud is traditionally the place where the souls of the deceased would go. Unique images of sessions and conversations with the shamans are shown. Right at this spot a monument was erected for the people who lost their lives during the tsunami of 2011 and the need to consult a shaman still exists here.
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Film: Zij die zien in het donker. Op zoek naar de laatste blinde sjamanen in Japan
Zondag 28 september, 14:00 uur op NPO2
Regie: Madelon Hooykaas
Filmmaker Madelon Hooykaas bespeurt onder westerlingen een toenemende interesse in het sjamanisme. Zelf is zij sinds enige tijd ook een praktiserende sjamaan. Ze reist af naar Japan om enkele blinde vrouwelijke sjamanen te bezoeken en krijgt uiteindelijk toestemming om een sessie met deze vrouwen te filmen.
Eén van de betekenissen van het woord sjamaan is ‘zij die zien in het donker.’ In het Noordoosten van Japan worden zij itako’s genoemd. Het raadplegen van een itako is diep geworteld in de Japanse cultuur. Een sjamaan is er voor levensvragen, het helen van lichaam en geest en voor het communiceren met overledenen. Traditioneel waren het vooral blinde mensen die deze roeping als levensmissie oppakten. Blindheid betekende in arme rurale gemeenschappen weinig toekomstperspectief. Sjamanisme was voor blinde mensen een van de weinige mogelijkheden om toch een belangrijke
maatschappelijke rol te spelen. In de provincie Aomori in het Noordoosten van Japan bezoekt Madelon de enige twee oude blinde vrouwelijke sjamanen die nog praktiseren.
De Japanners geloven dat de zielen van de overledenen naar de berg Osore gaan,letterlijk ‘de berg van de angst’. Deze gedoofde vulkaan in het noordelijkste punt van het centrale eiland Honshu is omgeven door kokende bronnen van zwavel en modder. Van oudsher hebben de itako’s een vaste ruimte voor consulten in de boeddhistische tempel Bodai-ji op de berg Osore.
De film toont unieke beelden van sessies en gesprekken met deze sjamanen. De interviews geven de achtergrond weer waarom deze vrouwen sjamaan zijn geworden. De film maakt ook duidelijk waarom juist op de berg Osore een monument is opgericht voor de overledenen van de tsunami in 2011, en laat zien dat er nog steeds behoefte is een sjamaan te raadplegen.
Director/producer/camera: Madelon Hooykaas
Assistant/translator: Miyuki Okuyama
Editor: Geert Braam
Music: Ab Baars
Commissioning editor BOS: Laetitia Schoofs
With: Take Nakamura, Miyou Ogasawara, Hiroko Matsuda, Narumi Shuun – a Buddhist Broadcasting Foundation production
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TOKYO
Presentation: INSPIRATION AND TRANSFORMATION. Netherlands’ video pioneer from the 70's till now, Sakai, Tokyo (JPN)
by Madelon Hooykaas
Date: Sunday 1st of June 2014 at 19:00-21:00
(screening, performance and artist talk)
entrance fee: 1500 yen with 1 drink
Venue: Sakaiki (Yotsuya sanchome/ Tokyo)
Retrospective video art screening and artist talk by Madelon Hooykaas.
Also she will make a short live performance by using video screening and action drawing.
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Düsseldorf
Exhibition: ‘The Invisible force behind’, NRW-Forum Düsseldorf (DE)
Quadriennale Düsseldorf 2014 ‘BEYOND TOMORROW’
April 5th - August 8th 2014
One of the exhibitions is called ‘The Invisible force behind’ materiality in media art’ at the NRW-Forum Düsseldorf organized by Intermedia art institute.
The title of this exhibition is inspired by the well-known video work ‘The Force behind its movement’ (1984) by Stansfield/Hooykaas, which can be viewed there.
Link to a description of the exhibition
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Screenings 2014
- Center For Contemporary Art, Riga, Latvia, March 4 to March 8 with ‘Wheel of Life’ (group)
- Essex Art Center, Lawrence, MA, USA February 12th, screening of Wheel of Life’ (group)
- Centre for Contemporary Art Ujazdowski Castle Warsaw, Poland, February 4 with ‘Wheel of Life’ (group)
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2013
Screening at Museum Wolf Kahlen, Bernau bei Berlin (DE)
Screening of ‘The Museum of Memory VII’ (1987) by Stansfield/Hooykaas at museum Wolf Kahlen in Berlin on February 3, 2013.
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Exhibition ‘Duo Denken’ Landgoed Anningahof, Zwolle (NL)
Four Directions by Stansfield/Hooykaas (1987)
with works by Stansfield/Hooykaas and other ‘duos’
from October 12 till November 16, 2013
2012
Exhibition: REFLECTION, Locus Solus, Antwerpen (BE)
From the 20th of October till the 17th of November 2012
In het kader van het project THE PRESENT IS THE RESULT OF THE PAST nodigt franck gribling kunstenaars uit, die vanuit zijn perspectief een rol van betekenis hebben gespeeld in de ontwikkeling van de kunst van de afgelopen halve eeuw. Er wordt hen gevraagd enkele sleutelwerken uit hun oeuvre te tonen, die geleid hebben tot hun kunst van nu.
Madelon Hooykaas (geb.1942) heeft vanaf 1972 samengewerkt met Elsa Stansfield onder naam Stansfield/Hooykaas en hun samenwerking heeft een belangrijke bijdrage geleverd aan de ontwikkeling van de audiovisuele media in Nederland en ook in Europa. Zij introduceerden de factor tijd binnen de context van de beeldende kunst, niet als snelle beweging, maar als langzaam verloop. Hun werk had van het begin af aan een meditatief karakter, geïnspireerd door het Japanse Zenboeddhisme. De contemplatie van tijd en ruimte in relatie tot de herinnering, toegespitst op natuurlijke fenomenen, spelen een rol. Het bewegende beeld werd vaak in combinatie met "stills" in situ als installatie gepresenteerd.
Al in een vroeg stadium was hun werk in Belgie te zien. "LABYRINTH" werd in 1978 in het I.C.C. in Antwerpen getoond. Daarna in 1983 een `Audio Video installatie` in het Provinciaal Museum van Hasselt.
Als Europese videopioniers hebben zij voorts werken gemaakt o.a. in Groot-Brittannië (Whitechapel Gallery,Third Eye Center), in Nederland (de Appel, Stedelijk Museum Amsterdam) in Duitsland (Folkwang Museum, Lehnbachhaus) en later in New York (MoMa), Montreal (la Centrale). Ook deden ze mee met de Biënnale van Sydney (1982) en de Documenta (1987). Hun werk is vertegenwoordigd in een aantal belangrijke musea in Europa en Noord -Amerika
Vanaf 1992 hebben zij een groot aantal werken voor het publieke domein gemaakt.
Een uitgebreid gedocumenteerd en door verschillende deskundigen besproken overzicht van hun oeuvre is te vinden in het in 2010 verschenen boek "REVEALING THE INVISIBLE, THE ART OF STANSFIELD / HOOYKAAS FROM DIFFERENT PERSPECTIVES." uitgeverij De Buitenkant, Amsterdam
In 2004 is Elsa Stansfield plotseling overleden en sindsdien zet Madelon Hooykaas hun gedachtegoed voort. Eerst heeft ze zich ingezet om de zes projecten waar ze nog aan bezig waren af te maken. Sinds 2011 werkt Madelon Hooykaas weer met haar eigen naam in plaats van Stansfield/Hooykaas.
Als onderdeel van het Project THE PRESENT IS THE RESULT OF THE PAST toont zij in LOCUS SOLUS de première van haar recente video werk 'Underground' (2012) in samenhang met een aantal vroegere, samen met Elsa gerealiseerde werken zoals 'Aeriel' (1991), 'Four Directions '(1987), 'Detour (1983)', From the personal Observatory II (1992), ‘In the eye of the storm (1992)’, Museum of Memory I, Black rain (1985), ‘From the Personal Observatory’ (1991)
Ander werk van Madelon Hooykaas is op dit ogenblik te zien in Het Museum van Religieuze Kunst te Uden, NL en in het Japan Museum SieboldHuis in Leiden, NL
Exhibition overview (image credit LOCUS SOLUS)
Link naar webpagina
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Exhibition: ‘Transformation/Inspiration’ by Madelon Hooykaas & Keiko Sato, Japanmuseum Sieboldhuis, Leiden (NL)
from September 16 till November 25, 2012
Contemporary art in the Japan Museum SieboldHuis. Multimedia installations from Madelon Hooykaas and Keiko Sato inspired by Siebold’s 19th century collection, his story and the historic building on the Rapenburg.
‘Something that seems very far away…. Sei Shōnagon’ (2012) (video sculpture)
For this exhibition the Dutch artist Madelon Hooykaas and Japanese artist Keiko Sato were also influenced by current issues. They are not only connected by their interest in Japan but by their mutual interest in nature and the exploration of how technology and nature can unite. These themes are explored in the many different installations and transform the entire museum, from the basement to the top floor, from the courtyard to the garden.
The exhibition Transformation/Inspiration is more than a voyage of discovery through the world of Siebold and contemporary art. The artists awaken the viewer’s awareness of life itself, of humans as part of nature, the inseparability of all things but also how the influence of the human touch often has an irreversible effect. Both artists make visible and palpable that which is present but not always tangible. It is in this way that their art deepens our experience of the world.
New website for the Wishing Tree (not available anymore)
Deze heet nu voor de Nederlandse versie: http://www.wishingtree.nl
And for the English version: http://www.wishing-tree.net
The website is part of the exhibition:
'The tree. In nature, culture and religion', Museum of Religious Art, Uden, The Netherlands, June 16- November 11, 2012
The website is commissioned by the Museum of Religious Art, Uden, the Netherlands with the financial support of the Innovation Fund for Culture of the Municipality of Uden
Advice and production: Madelon Hooykaas
Technical support: Jaap van der Kreeft, Toxus
Idea and design are partly realised through an earlier initiative of the Wishing Tree website made for the Center for Art and Technology at Northwestern University.
January - May, 2002
Concept: Stansfield/Hooykaas
Realisation: Rodrigo Cadiz and Brian Sarfatty in collaboration with Stansfield/Hooykaas
Special thanks to: Annette Barbier, Marlena Novak, Heiner Holtappels and Gaby Wijers
Exhibition at Manif d'art 6 - La biennale de Québec, Quebec (CAN)
The audio sculpture ‘Hearing Voices II' (1994) by Stansfield/Hooykaas has been selected for the Biennale de Quebec/ MANIFESTATION INTERNATIONALE D'ART DE QUÉBEC. The exhibition will be at l'Espace 400e in Quebec City from May 3 till June 3 2012 curated by Nicole Gingras.
Hearing Voices II, 1994. Audio Sculpture (image credit Studio Hooykaas)
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Screening of ‘Video Void’ during Ives Ensemble and NIMK at De Duif, Amsterdam (NL)
On Sunday March 25th, the Ives Ensemble performs for the third time in De Duif, the famous church in Amsterdam. This time two Dutch premieres of the English composer Laurence Crane.
Laurence Crane (geb. 1961) - Ethiopian Distance Runners (2009) (20’)
Laurence Crane (geb. 1961) - Piano Quintet (2011) (25’)
From the NIMk collection, the fascinating work 'Video Void' by Stansfield/Hooykaas will be screened. The concert with music by Laurence Crane and the videowork by Stansfield/Hooykaas will take place on Sunday 25th of March at 16:00 hours in De Duif, Prinsengracht 754 in Amsterdam. Entrance is 5 Euro
2011
Screening of ‘Re:vision’ as part of of Moving Images ‘Inspired Video Art’, in the Lebuinuskerk, Deventer (NL)
MARINA ABRAMOVIC, YAEL BARTANA, KÖKEN ERGUN,
HOOYKAAS / STANSFIELD, JEROEN KOOIJMANS, ARENT WEEVERS,
GUIDO VAN DER WERVE
Screening of Re:vision (2005) (Stansfield/Hooykaas)
Exhibition: Tv as…Temporary Stedelijk Museum, Amsterdam (NL)
March 3 - May 15 2011
The Stedelijk Museum has a long and distinguished history of collecting and exhibiting video and television-based art. TV as… highlights a selection of work from the collection focused primarily on the 1970s and 80s, when television became a dominant mode of communication.
In this exhibition the medium television is shown on different levels. The audio-video installation 'Shadow Pictures…..from the Museum of Memory II’ (1986) by Stansfield/Hooykaas is also shown here.
Acquired for the collection of the Stedelijk Museum in 2011.
On March 3, 2011 The Temporary Stedelijk 2 opened with among others the exhibition TV as… curated by Bart Rutten.
On the 24th of March, there was a lecture as part of TV As… (with Dara Birnbaum, Paul Groot and Madelon Hooykaas)
'Shadow Pictures…..from the Museum of Memory II’ (1986) by Stansfield/Hooykaas
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Review in Artforum March 2011 of the two exhibitions ‘Revealing the Invisible. The Art of Stansfield/Hooykaas from Different Perspectives’ in Glasgow, Scotland
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New publication about the exhibition of Stansfield/Hooykaas at the Ketelfactory, Schiedam (NL)
De nieuwe publicatie 'Revealing the Invisible' over de tentoonstelling
van Stansfield/Hooykaas is verkrijgbaar via deze link.
2010
Book "Revealing the Invisible, The Art of Stansfield/Hooykaas from Different Perspectives
'The work of Stansfield/Hooykaas is a celebration of the movement or flow of life. […]
In fact it is the miracle we experience every day and that we rarely stop and think about.' Janneke Wesseling (in 'Revealing the Invisible')
Elsa Stansfield and Madelon Hooykaas are pioneering multi¬media artists who experimented with the very latest audio-visual technologies and innovations. Their films, sculptures and installations are about space and time: the cycle of the seasons, the tides, and natural elements such as radio waves and magnetic fields. In nearly all their work they explicitly refer to the earth and nature. The two artists believe that technology and science are not at odds with art, but are a part of it.
In 11 essays, international authors reflect on the work of Stansfield/Hooykaas. The duo's oeuvre comprises 150 works; its many layers intrigue the viewer.
Art historians, scientists, philosophers and artists discuss Stansfield/Hooykaas' work from varying and unexpected angles, making 'Revealing the Invisible' a unique voyage of sensory discovery.
Authors: Kitty Zijlmans, Madelon Hooykaas, F. David Peat, Nicole Gingras, Janneke Wesseling, Dorothea Franck, Malcolm Dickson, Heiner Holtappels, Sabine E. Wildevuur, Gerard Lakke en Jonathan Bragdon.
Edited by Madelon Hooykaas and Claire van Putten
11 essays / 336 pages / incl. DVD (60 minutes)
richly illustrated / full colour / cloth binding
Design by Hansje van Halem
Published by De Buitenkant, Amsterdam, nl, 2010
ISBN 978 94 90913 03 8
http://www.uitgeverijdebuitenkant.nl/grafisch_ontwerpen/#197
Exhibition: Revealing the Invisible. The Art of Stansfield/Hooykaas from Different Perspectives, CCA, Glasgow (GB)
27th Nov 2010 - 29th Jan 2011
CCA, 350 Sauchiehall St. Glasgow, G2 3JD
‘Revealing the Invisible’ is a major exhibition and retrospective focusing on the art
of the seminal visual arts duo Stansfield / Hooykaas in a series of video, sculpture,
photography and sound works from the 70s to recently completed works hosted across
Street Level Photoworks and CCA. The artists are considered pioneers in the field of
video art with their work influencing many multimedia artists today.
In their installations they developed unique associative principles between images,
words and sound. Their work is about space and time: the tides, the cycle of seasons
and natural elements of physics such as radio waves and magnetic fields. In addition,
they use video and photography, combined with materials like stone, aluminium, glass,
phosphorus and water. In almost all their work, they refer explicitly to the earth and
nature, and spirituality is part of their life philosophy. Although Elsa Stansfield died
unexpectedly in 2004, Hooykaas has continued their oeuvre in new work, some of
which is included in ‘Revealing the Invisible’.
Further Information on the Artists
Elsa Stansfield (Glasgow, 1945) and Madelon Hooykaas (Maartensdijk, 1942) began their artistic collaboration in the early-seventies. The background of both artists included film and photography, subjects which eventually led them into the making of video tapes and installations. Their first video works were of a distinctly conceptual nature, whereby the investigation of characteristics of the - at that time - new artists’ medium, played a prominent role. Their work places strong emphasis on factors such as ‘time’(its passing/duration) and ‘space’. Countless journeys form the initial inspiration for new works. Recurring subjects are natural phenomena and the elements.
The year 1975 marked the beginning of their productive partnership with video in an exhibition ‘What’s It To You’, a two screen installation made for the Third Eye Centre (now CCA) in Glasgow. Their final installation as a living collaboration was at Centrespace at Dundee Contemporary Arts in 2004 where they exhibited ‘Day for Night’, the results of a residency at the Visual Research Centre.
After the death of Stansfield in 2004, Hooykaas continues to create visual work in the spirit of their collaboration.
The practice of Stansfield / Hooykaas is very well known internationally and their works have been exhibited in Sydney (Biennale),Kassel (Documenta) and London (Whitechapel Gallery), and their work is included in the collections of the Stedelijk Museum (Amsterdam) and the Museum of Modern Art (MoMA) in New York.
A richly illustrated book highlighting their work has been produced to coincide with the exhibition - “Revealing the Invisible - The Art of Stansfield / Hooykaas from Different Perspectives”, published by De Buitenkant, Amsterdam, and includes 11 international authors.
The book is in English and is available at Street Level and Aye Aye Books at CCA.
Lecture by Madelon Hooykaas Friday 26th Nov 11am - 12:45pm
at The Glasgow Film Theatre, 12 Rose Street Glasgow, G3 6RB,
as part of Glasgow School of Art’s Friday Event Lecture Series.
Beta Movement - Madelon Hooykaas
Thursday 27th of January 2011
Screening of ‘Daydreams’ (1972), ‘One of these days’ (1973), ‘About Bridges’ (1975)
The Future of Video in Scotland - Part Two
Saturday 29 January 2011 / 1pm
Thirty-five years on from a symposia, titles The Future of Video in Scotland, held at the Third Eye Centre, which features screened works by Stansfield/Hooykaas, Prof. Stephen Partidge, REWIND and Steven Cairns, Co-editor of MAP Magazine will discuss the recent histories of moving image practice and again project potential futures for artists based in Scotland working in the medium. Madelon Hooykaas will present a 45 minute talk as part of this event, looking at the work of the duo and its context, including a selection of mono tape screenings.
Image above: Re:vision, 2005, video still.
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Exhibitions: ‘Revealing the invisible’ at the Ketelfactory (Schiedam, NL) and Museum Gouda (Gouda, NL)
10 September 2010 - 31 October 2010
‘Mount Analogue’ (2010) by Madelon Hooykaas, video projection and drawing
The art of Stansfield/Hooykaas mainly consists of sculpture, sound, still images and filmed material. With ‘Revealing the Invisible’ Madelon Hooykaas has compiled an exhibition aimed at the experience of spatiality and the deeper levels of the artworks. She has created the video installation ‘Mount Analogue’ specially for De Ketelfactory. This installation constitutes the point of departure for Dorothea Franck’s philosophical and poetic essay ‘Kunst en aandacht‘ concerning the oeuvre of Stansfield/Hooykaas and, in particular, the exhibited works at De Ketelfactory.
The body of work produced by Stansfield/Hooykaas has a considerable international reputation. Their works have been shown, for instance, in Sydney (Biennial), Kassel (Documenta) and London (Whitechapel Gallery) and are included in, among others, the collections of the Stedelijk Museum (Amsterdam) and the Museum of Modern Art (MoMA) in New York. Running concurrently with the exhibition at De Ketelfactory is a display of several works by Stansfield/Hooykaas at Museum Gouda. Among these is the well-known work ‘From the Museum of Memory’ (on loan from the Stedelijk Museum, Amsterdam). Later this year, the exhibition of work by this duo will travel to Glasgow, Scotland.
In September 2010 the book ‘Revealing the Invisible. The Art of Stansfield/Hooykaas from Different Perspectives’ will be published by Uitgeverij de Buitenkant. In this richly illustrated catalogue, the work of Stansfield/Hooykaas is discussed by eleven internationally known authors.
Articles (in Dutch)
Samen in de kunsten: Stansfield/Hooykaas – Florette Dijkstra in De Kantlijn
De ontmoeting van Madelon Hooykaas en Elsa Stansfield – Froukje Holtrop in Musis
Revealing the Invisible – Eleanor van Beusekom in Beelden
Boek: Zazen NU. Het dagelijks leven in een Japans zenklooster
Madelon Hooykaas en Nico Tydeman
Na bijna veertig jaar keert beeldend kunstenaar Madelon Hooykaas terug naar een Japans zenklooster. In het traditionele Soto-Zen trainingsklooster Bukkoku-ji in Obama neemt zij deel aan het dagelijks leven en mag zij foto’s maken en filmen. Het boek geeft een beeld van haar ervaringen in het klooster, aan de hand van unieke verstilde foto’s en persoonlijke dagboekaantekeningen.
Nico Tydeman schetst in zijn essay ‘Laboratorium van de Geest’ de historische ontwikkeling van het zenklooster. Bij de transmissie van China naar Japan speelt Dogen Zenji (1200 – 1253), de grondlegger van de Soto school, een cruciale rol. Teksten van hem zijn bij de foto’s geplaatst. De monniken van Bukkoku-ji leven nog steeds volgens het monastieke model van Dogen.
Een boek dat inzicht en verdieping geeft in zen. Een uniek verslag in woord en beeld van een verblijf in een traditioneel Japans zenklooster.
Madelon Hooykaas (1942) is een internationaal bekende beeldend kunstenaar, zenboeddhist en auteur van het unieke fotoboek ZAZEN uit 1971.
Bijna veertig jaar later keert zij terug naar een Japans zenklooster en doet verslag in woord en beeld.
Nico Tydeman (1942) is zenleraar, geestelijk leider van Kanzeon Sangha met groepen in Amsterdam, Rotterdam en Utrecht en auteur van enkele boeken over zen. Hij verbleef in 1986 drie weken in Bukkoku-ji, een Soto trainings klooster in Obama, Japan.
Zazen nu
Het dagelijks leven in een Japans zenklooster
Door: Madelon Hooykaas en Nico Tydeman
ISBN: 97890 202 03813
Geïllustreerd Prijs: € 34,90
Blz.: 160
gebonden
Uitgeverij Ankh Hermes, Deventer
Film: HET PAD. Een vreemdeling in een Japans zenklooster
Uitzenddatum: Zondag 4-4-2010 13:30 - 14:00 ned. 2
Herhaling: Zaterdag 10-4-2010 09:50 - 10:20 ned. 2
Het tweede deel van het tweeluik over Japanse zenkloosters gemaakt door Madelon Hooykaas, beeldend kunstenaar en boeddhist.
Dit deel speelt zich af in Sogen-ji, een Rinzai trainingsklooster in Okayama, Japan. Het is een van de weinige zenkloosters in Japan waar westerlingen worden toegelaten om een training te volgen. In dit persoonlijke verslag van haar verblijf volgen we het dagelijks leven in het klooster. We ontmoeten Tom, een jonge Nederlander die een jaar in dit klooster traint. Harada Shodo Roshi, abt en zenmeester van Sogen-ji licht toe waarom dit klooster er vooral ook is voor vreemdelingen.
Regie/productie/camera/geluid: Madelon Hooykaas
Met: Harada Shodo Roshi, Priscilla Daichi Storandt, Tom van Dijk, Sylvia Arkilanian
Eindredactie: Babeth M. VanLoo
Montage/mixage: Geert Braam
Met dank aan: Sister Jina, Plumvillage, France; De Nederlandse Ambassade, Tokyo
© 2010 een Boeddhistische Omroep Stichting productie
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2009
Film: ZAZEN NU. Het dagelijks leven in een Japans zenklooster
Uitzenddatum: Zondag 1-11-2009 13:00 - 13:30 ned. 2
Herhaling: Zaterdag 7-11-2009 09:50 - 10:20 ned. 2
Beeldend kunstenaar, filmmaker en zenboeddhist Madelon Hooykaas verbleef in 1970 enige tijd in een Japans zenklooster. Ze was de eerste Westerse vrouw die toegelaten werd in dat klooster en kreeg uiteindelijk ook toestemming om daar foto’s te maken. Dit resulteerde in 1971 in het fotoboek Zazen, gepubliceerd in Nederland, Duitsland en de Verenigde Staten. Bijna veertig jaar later keert zij terug naar Japan en doet een filmisch verslag van haar ervaringen tijdens het verblijf in Bukkoku-ji, een Soto-Zen trainingsklooster in Obama. In deze unieke film neemt de kijker deel aan het dagelijks leven in dit traditionele klooster. Bij de verschillende onderdelen van de film zijn teksten geplaatst van Dogen Zenji (1200-1253), de grondlegger van de Soto-zenschool. Abt en zenmeester van dit klooster Roshi Harada Tangen, die al 85 jaar is, geeft zijn visie op het leven: “You and me not seperate, everything is one, only one root.” In Mei 2010 verschijnt bij uitgeverij Ankh-Hermes het boek Zazen Nu met foto’s en dagboekaantekeningen van Madelon Hooykaas, een essay van Nico Tydeman
en teksten van Dogen Zenji.
Regie/Productie/Camera/Geluid: Madelon Hooykaas
Met: de monniken en nonnen van Bukkoku-ji, Obama, Japan
Eindredactie: Babeth M. VanLoo
Montage/Mixage: Geert Braam
Teksten: Dogen Zenji
Fragment: “Portret van een fotografe”(NOS) van L. Steenbergen (1972)
Kalligrafie: Roshi Harada Shodo
Met dank aan: Roshi Sama Harada Tangen, Somyo-san, de monniken en nonnen van
Bukkoku-ji, Obama, Japan, Nico Tydeman, Belenda Yamakawa, Rumiko Hagiwara
© 2009 een Boeddhistische Omroep Stichting productie
ASCENT. A dance performance by Leine & Roebana
Touring in the Netherlands from January 14 till March 27, 2009.
Premiered in Breda, The Netherlands on January14, 2009
Light object/stage set by Madelon Hooykaas
See : https://www.leineroebana.com/archief/
