After the presentations, replicas of optical instruments will be made available for usage, so the sketched developments can be experienced in real life, and as a source for triggering discussion.

Opening intervention with the Dutch premiere of Sun Following Prism on October 18, with special thanks to landscape architect Dirk Sijmons, art curator and critic Valentijn Byvanck (Marres), cultural sociologist Ruben Jacobs & all artists and designers. Photo Johan Nieuwehuize.

 

 

A special workshop themed around the question What role does fieldwork play in environmental literacy for humans and artificial intelligences? Theun also presented the Fieldguide to Random Forests publication that collects observations, images, tools and questions that emerged from various fieldwork sessions.
With special thanks to Sjef van Gaalen, Sander Turnhout, Jan de Graaf, Jeroen van Westen, Marinus van Dijke, Semuel Sahureka, Michelle Geraerts, Anne van Leeuwen, Marjolijn Boterenbrood, Harpo ’t Hart, Joyce Heckman, Maryan Klomp, Cocky Eek, Maria Verstappen, Alce Smit, Jari Schulp, Rembrandt Zegers, Leo van der Vlist, Frank Heckman, Marit Mihklepp and guests. Photo Johan Nieuwenhuize.

 

Nishiko works all days In Situ during Climate as Artifact in her special workspace. Shortly after the earthquake and tsunami disaster in Japan in 2011, Nishiko began her Repairing Earthquake Project. She collects damaged, often personal items in the disaster area and starts a long process of repair, guided by chance encounters and dialogue, trying to find foster parents for the objects. On November 17 her solo exhibition at Stroom The Hague opens.
Photo: Florian Braakman.

 

 

Together with special guests Isockor Anwell (canoe builder from the Marshall Islands) and Henrik Richter-Alten (GIZ, sustainable sea transport) Esther build on site in 2 weeks a traditional out-rigger canoe to share & learn more about sensing the waves. Special thanks to oceanographer Gerbrant van Vledder, Alson Kelen and Tamie Bowman from WAM Marsall Islands, anthropologist Joseph Genz and physicist John Huth, including all who attended the celebration of the Ritual for baptism of the outrigger canoe. Photo Florian Braakman.

 

Kadans grows into a rich collection of textiles, displaying the time-sensitive variety of patterns that are created by waves. Based on the raw data collected by buoys and platforms offshore the coast of the Netherlands, Kadans develops into a tactile sea-archive. With special thanks to Gerbrant van Vledder, Marion Tissier and Sierd de Vries (TU Delft), RNDR, Marian Stubenitsky, Lanificio Leo, Sander Manse, Rik Komaromi and Elvis Wesley. Photo: Aliki van der Kruijs.

 

 

Sachi Miyachi,  ____________ (working title), 2018 > more

Sachi works all days In Situ during Climate as Artifact. She explores the Electriciteitsfabriek on a conceptual level by engaging with the physical structure of the building. Although the building is known for its industrial features, the raw materials that were used in building the Electriciteitsfabriek are essentially all derived from nature. Can you guess the amount of bricks Sachi counted at Electriciteitsfabriek?

According to Thijs, art promises to offer the means to speculate on things to come, to place oneself in another time, another space and at another pace. But, how can you relate to the rapidly changing imaging of the future?
Thijs places his work in an intermediate layer; it is not located on the ground floor or on the first floor, but literally in an opening in between.

Maurice build his biggest work ever! The installation draws the largest possible circle in space. Crosses the space and escapes obstacles along the way, such as the steel columns of the factory. In art history, a panorama was a way to imitate or simulate a landscape. The experience of a landscape or so called nature is not unambiguous, but subject to the spirit of the time. This installation is white, and thus escapes the romantic illusion of projecting an idea of a landscape. The visitor enters, as it were, into an undefined film set. Photo: Johan Nieuwenhuize.

 

 

With the ongoing research called East-West-Thinking Cement, Onkruidenier & Rosanne van Wijk connect Climate as Artifact in The Hague with the parallel artist-in-residency at Bamboo Curtain Studio in Taipei, on the island of Taiwan in the East China Sea. On both locations they bring together the ingredients - sand, burnt shells, sugar and glutinous rice - to fabricate cement according to a historic recipe brought by the Dutch from ancient China and introduced at Formosa during colonial times (1624-1662).

With special thanks to Jo Lene On, curator of De Appel, artists Chaotze and Jungsheng and the parents of Ronald. Photo: Florian Braakman.

 

 

During Climate as Artifact Maurice returned eight times to the Zandmotor to make his second stop-motion film titled Eight Working Hours, to complete his triptych Eighteen Coffee Breaks – Eight Working Hours, composed of two stop-motion films and a sound piece made by Jordy Walker. Eight Working hours premiered on November 8.
With special thanks to the people who joined Maurice in the making of this work. Photo: Florian Braakman.

 

End of September 2018, Lotte traveled to the Sahara for Climate as Artifact, in search of acoustic sand. Sand that sings, whistles, whines and roars. This extremely rare phenomenon, that is caused by a certain type of sand that sounds like an orchestra when the wind sets it in motion. SCORE premiered on November 8.

Made in collaboration with composer Thom Driver (UK), graphic designer Studio Dongyoung Lee, edit advise by Eric Feijten and camera Lotte Geeven. Special thanks to Tissardmine crew & friends, Hilversum City Orchestra, Victor Wennekes, Nathan van Ewijk, Terpstra Muziek, Hampe & Berkel. Image: film still by Lotte Geeven.

 

Voice of a Sinking Landscape by Josje speaks about the sinking landscape of the Horstermeer polder. Literally digging away the soil underneath your feet, to create new land to live on; peatlands, polders, dunes, dikes.

Josje engaged in a long term dialogue with climate scientist Tanya Lippmann, documented in the Zine.

With special thanks to drs. Tanya Lippmann, dr. J van Huissteden, Jan Zwagerman en Klaske Andela, Jan Siteur, Henk Stuyver (President), the people of Horstermeerpolder, Cynthia Bruining, Jan Wilshaus, Tineke Gebbeken, Historische Kring Nederhorst ten Berg, Waterschap AGV, Natuurmonumenten, Joost Koskamp and Matthias König.

Special thanks to dr. Freek Busschers, Pieter van der Klugt and Sieb de Vries (TNO, Deltares) for sharing VC17.

 

Masha focuses on exploring the possibility of engagement with local clay and archaeological ceramics artifacts from the area of The Hague, with local experts. Dialogue forms the core of this research. During tastings and the special performance Discourse with Clay, she investigates how people react to physical contact with different types of clay and artifacts.