Keep Me clean
Use Me well
What I see
I'll never tell
We can see something peeking through right, or have we become numb to its growth?
Cleansing and rinsing ourselves from the unwanted noise. Just like bringing our cars to a carwash, we routinely bring our bodies to a place for cleaning, in which we collectively park them on a daily basis in order to detach ourselves from the dust that lingers. That what smells and is normally present on the surface, is now being masked by the soapy antigenic surfactants that remove its ability to grow further. Yet most of its material is still there, just like the veins running underneath our skin will sometimes surface. Instead of cleansing I would call it neutralizing. Neutralizing implies, in the CIA's professional terminology, the elimination of a leader, but could also refer to removing a possible threat.
Production:
Ewan McSorley
Hans-Hannah
Carmen van Beem
Guard Gates
In the work “Guard Gates” there is a basin built from clothing softener for the exhibition space of P/-//// AKT. In the middle of the room there is a fountain
wherin its outside was made of TL Lights and the inside housing of mirrors. The liquid around the fountain is clothing softer that leaks from the sides of the mirros as it produces soap bubbles down under. The work “Guard Gates” evokes the feeling of a tower that is always in relation to the visitor in which his body in front of the mirrors is cleansed. I chose work because youre able to see how i work with the idea of an internal and external structures and how i use repition as a tool for cleaning rituals.
wherin its outside was made of TL Lights and the inside housing of mirrors. The liquid around the fountain is clothing softer that leaks from the sides of the mirros as it produces soap bubbles down under. The work “Guard Gates” evokes the feeling of a tower that is always in relation to the visitor in which his body in front of the mirrors is cleansed. I chose work because youre able to see how i work with the idea of an internal and external structures and how i use repition as a tool for cleaning rituals.
Clean Tiles
The work “Clean Tiles” was presented as part of the project “The Removal of the Eye”. Here I created a tiled environment in the exhibition space. Both the walls and the floor are measured to the size of the actual space wherin wooden plates have been constructed to make it seem like it always was this way. In addition, the tiles on the floor were also smeared with charcoal which leaves footprints over timecreated by visitors.
“The bathroom emphasizes the physicality, the flesh. And it difference of flesh. Not every body is equally dirty, not every body can afford just as much filth. But here in the bathroomwe are all equally physical. ”
In the accompanying text ‘The Removal of the Eye’ I talk about cleaning as ‘neutralizing’, removing threats. The bathroom is a space totally furnished for this ‘neutralization’. Here you can see how much architectural spaces influence our behavior, movement and thoughts
In the accompanying text ‘The Removal of the Eye’ I talk about cleaning as ‘neutralizing’, removing threats. The bathroom is a space totally furnished for this ‘neutralization’. Here you can see how much architectural spaces influence our behavior, movement and thoughts
6 eyes
The work “6 Eyes” consists of fish eyes glued to tiled walls of the exhibition space. These eyes decay over time. “6 Eyes” is about the removal of the eye, the deconstruction of a particular process. Only in the process, when we all come together, are we all different bodies, and also all different eyes. The process and the eyes we do not always see, it often happens below the surface. What happens when we reverse our behavior.
Some replica VOC Delft-blue tiles are scattered
around the space, placing us
firmly within the day-to-day presence of Dutch
cultural history.
around the space, placing us
firmly within the day-to-day presence of Dutch
cultural history.
Vanitas Jelly
On the floor lies a glass jellyfish, vase and part of acomputer screen ; vase is a collector’s item from the past, reminiscent of thedutch 17th century genre of vanitas. these still-life paintings would feature themes of death andtransience as a moralistic warning to livevirtuously an drepent.
Photography: Charlott Markus
