MARIJKE VAN WARMERDAM, “Weather forecast”, film still on coaster, 2019
9.4 x 9.4 cm
edition unknown
issued on behalf of group exhibition “Videoland” at Kunsthal Kade, Amersfoort, Netherlands
Kunsthal KADE in Amersfoort is celebrating a 10 years anniversary with “Videoland”, a group exhibition with videos of Matt Calderwood, IsaacJulien, Ragnar Kjartansson, Christian Marclay, Hans Op de Beeck, Nira Pereg, Tom Pnini, Martin & Inge Riebeek, Guido van de Werve and Marijke van Warmerdam.
MARIJKE VAN WARMERDAM, Underwater I, 2008
each 19,9 x 13,6 cm
2 digital prints in book by Dutch poet Rozalie Hirs, 16 pp.
signed and numbered on last page
edition 100
published by Uitgeverij 69, Hiversum, Netherlands
JOELLE TUERLINCKX, Dacht en Nacht Open 24/24 – Open Museum, 1997 (also known as “Openstelling”)
91,5 x 62 cm
double-sided poster designed by Joëlle Tuerlinckx
published by Provinciaal Museum, Hasselt, Belgium
inv.JTue 000-pr
Joëlle told me that after the opening of her exhibition ‘Dacht en Nacht Open’ she was informed by Stanley Brouwn that he does not appreciate to be mentioned in exhibitions he does not know about. Joëlle decided to meet his wish by crossing out his name on the posters. Recently she told me that this crossing is a drawing for her and that she would even be willing to sign it as such in case such a crossed poster would pop up somewhere.
Talk with Rudy Hodel in GvG, April 2025
“Openstelling” is an exhibition based on a concept of Joëlle Tuerlinckx who invited or integrated the following artists:
Orla Barry
Stanley Brouwn
James Coleman
Tacita Dean
Daniel Faust
Christoph Fink
Michel François
Thibaut Halbardier & Philippe van Van Cutsem
Douglas Huebler
Ann-Veronica Janssens
On Kawara
Suchan Kinoshita
David Lamelas
Guy Mees
Bernard Piffaretti
Michaelangelo Pistoletto
Joëlle Tuerlinckx
Marijke van Warmerdam
Richard Venlet
MARIJKE VAN WARMERDAM, Morning glory, 2014
30,5 x 25 cm
inkjet print
edition 3 + 1 AP
p.o.r.
Marijke van Warmerdam often uses image and title as two dissimilar entities living in symbiosis. Such a combination emphasizes elements of what is already literally shown in the image itself. In this work it is a combination of time and the light of a photographed running iPad apparently switched on in the morning when one gets up. KvG
MARIJKE VAN WARMERDAM, In de verte, 2012
18,7 x 25 cm
colour photo on dibond; recto and verso, wooden ledge
signed, numbered, dated, edition 40
published by Museum Boijmans van Beuningen, Rotterdam, Netherlands € 600,- October 2011
In this double sided film still Marijke van Warmerdam’s hands are shown sliding across the slats of Venetian blinds. At the other side of the photo another moment is depicted taken from her film ‘Light’ from 2010. Here two moments in one are literally put on display, but cannot be seen simultaneously. The latter being both a strategy of fetching reality and a trademark of the artist.
MARIJKE VAN WARMERDAM, Gestreken en gevouwen, 2011
59,4 x 84,1 cm; folded to 29,7 x 21 cm
offset print, 120 g/m2
signed and numbered on certificate, edition 100 + 7 A.P.
published by More Publishers, Brussels, Belgium
Repetition is one of the favorite strategies Marijke van Warmerdam applies in her films, photo works and objects. Here a work depicts an ironed and folded handkerchief on poster, which in turn is folded as a poster.
MARIJKE VAN WARMERDAM, Another day, 2011
each 110 x 80 cm
series of 50 unique screen prints, aluminum, framed
With a typically light touch, the work of Marijke van Warmerdam combines a deceptively naïve approach to the act of seeing with straightforward strategies, such as dramatic shifts of scale, doubling, reflection, rhythmic repetition or surprising juxtapositions to urge us to look with our eyes wide open.
In her film loops she depicts perfectly ordinary situations and actions, although factually always staged, with the deliberate use of compositional elements that create an open and unanticipated perspective. In her sculptures, photographic works and paintings, Van Warmerdam is not afraid of using cinematic and visual methods based on animated strategies. In the course of more than two decades she has made a refreshing contribution to the phenomenon of looking.
MARIJKE VAN WARMERDAM
Upside down, 2008
27 x 40 cm
recto and verso: photo on di-bond, wooden shelf
edition 10
published by the artist
Coll. K. van Gelder, Amsterdam
‘Capturing part of a landscape in a mirror I’m holding is very close to photography. In this case I got a swan inverted in my mirror,’ Marijke van Warmerdam says. An identical photo is pasted upside down on the reverse side. When the panel is turned around, the image initially seems virtually unchanged.
MARIJKE VAN WARMERDAM, On and on, 2006
15,5 x 21,5 x 1,4 cm
offset, 50 pages on stiff paper
edition 300
30 are signed and numbered
published by CCA Kitakyushu, Japan
After the funeral of her mother in 2006, Marijke van Warmerdam made photos of the flowers on her grave. In the following weeks she recorded the stages of withering, while the winter weather also brought some snow. In On and on the sequence of the photos is reversed, the intention being to turn back time.
MARIJKE VAN WARMERDAM, Days and holidays, 2006
3,8 cm / 2,5 cm
badges in plastic bag, stapled print on paper, 2 parts
edition 250
published by IKON Gallery, Birmingham, England
€ 85,-
When Marijke van Warmerdam was commissioned to make a badge for the IKON Gallery in Birmingham, she based her design on the spots from a cup and saucer she has used for a mobile with rotating photos called Take a break. She compares a working day to a holiday and so she made two badges representing both kinds of days. The printed light reflections on each badge suggest that the circular form is an air bubble. KvG
