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Uitgever: Kwak & van Daalen & Ronday Kleine Tocht 13 1507 CB Zaandam
Cover: Machteld Aardse, ABCD De Nederlandsche Bank, 2009
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Machteld Aardse
What do the fish in the sea think about the financial crisis? (And what do we think?)
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As What do the fish in the sea… takes shape in the workshop, the world economy is in crisis. Very few people outside the financial sector have a clear understanding of what this crisis is, or how it came about.
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Biografie Machteld Aardse (Nederland, 1972) is een multidisciplinaire kunstenaar wonend in Amsterdam. Na haar studie Kunstgeschiedenis studeerde ze aan de Gerrit Rietveld Academie in Amsterdam en behaalde haar Master’s aan de Dutch Art Institute in Enschede. In haar werk gebruikt Aardse verschillende media, waaronder schilderij, video, performance en projectie. ‘Ik ga er op uit en zoek de confrontatie op met mijn onderwerp. De kunstenaar is in mijn geval nooit enkel toeschouwer, maar altijd participant in wat er op de plek gebeurt. Complexe thema’s als macht en onmacht zijn voortdurend aan de orde. De verschillende visies op de wereld met hun specifieke verbanden en kortsluitingen intrigeren me. Wat ik in mijn werk ook vaak aan de orde stel is hoe diep gemeende, soms naïef lijkende ondernemingen en dromen van mensen falen door hogere structuren, procedures en hierarchiëen.’ Het meeste van haar werk is gerealiseerd in de publieke ruimte. Biography Machteld Aardse (Netherlands, 1972) is a multidiscplinary artist based in Amsterdam. After graduating in Art History she studied Fine Arts at the Gerrit Rietveld Academy in Amsterdam and subsequently got her Master’s degree from the Dutch Art Institute in Enschede. In her work, Aarsdse uses various media, among which paintings, video, performance and projections. ‘I go out looking for the confrontation with my subject. In my case, the artist is never merely a spectator, but always a participant in what is going on in a place. Complex themes such as power and impotence are a recurrent theme in my work. I am intrigued by the different views on the world with their specific connections and short-circuits. Another theme I often address in my work is how people’s deeply felt, sometimes seemingly naïve enterprises and dreams, fail due to higher structures, procedures and hierarchies’. Most of her work is realized in public space.
Terms like ‘sub-prime lending’, ‘default credit swaps’ or ‘securitized mortgages’ have been buzzing on the television and in our newspapers, but we do not understand what they mean.
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When bank after bank got into trouble in the summer of 2008, the struggle of newspapers to make the crisis accessible, to give it a face, was almost palpable.
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Front page photos showed fired employees of bankrupt banks carrying their boxes with belongings outside the door, directors of national banks whispering in each others ears, stock brokers with panic in their eyes. It didn’t help.
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The news might show victims of the crisis, or people involved in it, as human. The crisis itself, however, is some huge abstract absurdity to us. It has no human face.
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When men define things as real they are real in their consequences. The Thomas rule. The Sky is no longer the limit Shop till you drop Changing world of work Desert Dream: immune to crisis Arriving at the airport of Dubai I liked the plastic palmtrees and the desert carpet. Dubai is in the desert. Our house in the Meadows of Springs. Dubai is a melting pot of cultures. The people are there for a reason: money and gold. Everything goes down. Deep down. We like fishing, we go out fishing. Kingfish, starfish 30 kms off the shore. A highlight is that the traffic is less. Buildings are half finished and they are left as a ghost site.
We do, however, have a vague, blurry notion of what the crisis is. It involves banks and brokers irresponsibly continuing on a path which they felt had to go wrong at some point.
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It involves huge skyscraper bank headquarters on Manhattan or in Central London, where haughty, greedy, selfish people in expensive suits suddenly saw billions of dollars, euros, pounds, vaporize as a result of their own actions.
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For as long as cities have existed, moralists and conservatives have considered them to be immoral, soulless, corrupting and sinful.
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Bij de beeldvorming van Machteld Aardse
door Mauk Mulder
Machteld’s visionaire, artistieke, zelfs poëtische greep op macht kan ons kijkers inspireren om realistisch zowel als idealistisch met haar beeldvorming om te gaan. In het beeld ‘U - trappen’ is de tragiek van de mens verbeeld. Wij mensen kunnen reflecteren over ons eigen gedrag en dat van anderen en er zin aan geven, we kunnen zelf keuzen maken om gedrag voort te zetten of om dit te veranderen. Maar door deze vrijheid ontstaat er ook gedrag zoals van mensen op de trappen: niet met elkaar, maar tegen elkaar: naar boven, naar beneden. Op deze gammele constructie niet zonder risico’s; en de chaos is niet productief. In het beeld ‘G - de wolkenkrabbers’ blijkt ook tot welke samenleving deze vrijheid kan leiden. Een samenleving van gigantische, sombere, dreigende betonblokken, bevolkt door mensenmassa’s, die met elkaar niet echt verbonden zijn, in giga-steden van tien en meer miljoen mensen, in Afrika, Zuid Amerika, Japan, China, USA, …, die geen natuur in hun stad meer tegenkomen (behalve vogels, ratten, ongedierte, die leven van het afval van onze civilisatie), die proberen met een gifkapje op hun mond en neus zich te verweren tegen de luchtvervuiling. Wil iemand zo’n stad maken? Hebben niet weinige machtigen de beslissing genomen die hiertoe geleid hebben? Op grond van egogemotiveerde machtdrijfveren? Zie afbeelding ‘O - vissen’: de school van een massa visjes, met alerte oogjes. Zij doen niet aan zingeving in woorden. Maar op grond van hun instinct vormen zij zo’n school, ter bescherming tegen roofvissen. Alle neuzen wijzen dezelfde kant uit. Vergelijk dit met de afbeelding ‘U - trappen’. Mensen lukt dit echter zelden. Maar: in en door Machteld’s afbeeldingen wordt ook hoop gecreëerd: in afbeelding ‘U - trappen’ is te zien hoe twee mensen met elkaar een verbinding maken. Zij gaan samen iets doen. Misschien kunnen zij de tegenspelers op de trappen tot samenwerking brengen. Ook is er licht, veel licht in de afbeeldingen ‘G - wolkenkrabbers’ en vooral in de ‘D - woestijn’. Licht, symbool van leven en hoop. De leegte in de woestijn is dubbelzinnig: je kunt deze ervaren als eenzaamheid maar ook als te vullen leegte. Er leven talrijke dieren en micro-organismen in de woestijn; het is natuur. Er zijn woestijnen door slimme irrigatiesystemen vruchtbaar gemaakt. Onze maatschappij is maakbaar, in positieve zin. Kijkers, voel de pijn maar ook de open uitdaging van Machteld’s beeldenspel, dat uitnodigt om met de hardheid van de macht in onze maatschappij ook hoopvol om te gaan.
To them, a city was the dwelling place of money-grubbing traders and bankers, prostitutes, drunkards, a place where selfish people made money without producing anything themselves. It was a place of hubris, where Man built high towers to show off his power and wealth.
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About the Visual Conceptualization of Machteld Aardse by Mauk Mulder Machteld’s visionary, artistic and even poetic visualization of power can inspire the spectators to approach the creation of her images both realistically and idealistically. In the image of ‘The Stairs’ the tragedy of human mankind is represented. We as human beings may reflect about our personal behavior or that of others; we can make choices whether to continue or to change behavior. Due to this freedom behavior evolves likewise the people demonstrate on the stairs: not with each other, but against each other: upstairs versus downstairs. On this ramshackle construction the movements are not without risks and the resulting chaos is unproductive. The image of ‘The Skyscrapers’ shows to which kind of society this freedom can lead. A society of gigantic, gloomy, threatening blocks of armored concrete, populated by masses of non-interrelated people, concentrated in mass-conglomerates of multi million inhabitants, in Africa, South America, Japan, China, USA, …., people abandoned from nature – except from birds, rats, vermin that live from the waste of our civilization – and people trying to defend themselves against air pollution through masks on their mouths and noses. Is there anybody who likes to create such cities? Are they the outcomes of the many in power having taken the decisions for such solutions? Driven by ego-motivated arguments? Have a look at ‘The Fish’: the mass school of fish with their alert small eyes. They are not intending to give sense by words but are guided by their instinct to form large schools asprotection against fish of prey. All noses are in the same direction. Compare this with the people of ‘the Stairs’: it is seldom that people can achieve such behavior. However, in and through the pictures of Machteld also hope is created: it can be seen in ‘The Stairs’ how two persons are making a relationship and are going to do something together. They may be able to persuade their stair-opponents to cooperate. There is also brightness expressed through much light in the images of ‘The Skyscrapers’ and especially in ‘The Desert’. It shows Light as the symbol of life and hope. The emptiness in ‘The Desert’ suggests a double meaning: one can experience it as solitude but also as emptiness to be filled. But, desert is nature with its numerous hidden animals and micro-organisms. And deserts can become fertile by means of well designed irrigation systems. Our society can be made, in positive sense. Dear spectator, feel the pain but also experience the open challenge of Machteld’s play of images, that invites you to cope with and handle the severity of power of our society in a hopeful manner. Translation: Jaap Aardse
And above all, it was a place of godlessness, anonymity and despair. Whether we agree with them or not, this crisis has done little to belie this image of the city. What a contrast to the second image of the work. Fish, green fish!
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When we stare into their big, fluorescent eyes, it is hard to think of the financial crisis simultaneously without laughing. What do they think of it? Absolutely nothing, obviously! Our planet consists of water for 70 percent.
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In the realm of the fish, the financial crisis does not exist. The third image once again brings us back to the realm of humans and their trouble.
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We see them, all kinds of them, on a flight of stairs, trapped between the railings. The stairs are supposed to guide their movements, give them a direction, bring them somewhere, but in spite of this, they seem lost.
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If we want to know who these people are, the direction they are taking within the set structure of the stairs certainly doesn’t tell us anything. The few things we learn about these people is to be found in the things they carry, their facial expression, the small interactions between them.
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Machteld Aardse, ABCD, manipulated digital photo, 2009
Machteld Aardse GOUD, 2009
Manipulated, digital photo, 2009 source: Driven by Legendray Passion; Tamiyat Group- platinum sponsor of Cityscape Dubai 2008
Dinner with fish, mixed media, 2009 Dubai Mall, digital photo, 2009
Tristan Mostert: text process notebook, 2009 Fragment: Fish Sketch, mixed media, 25 x 33 cm, 2009
Dubai Island, Gouache on paper, 29 x 21 cm, 2009
Mauk Mulder
N.Young/The National, 2009
D - Desert, mixed media on O - Fish, mixed media on paper, 140 x 200 cm, 2009 paper, 140 x 200 cm, 2009 U - stairs, mixed media on Mauk Mulder paper, 140 x 200 cm, 2009
3 Dubai Palms, Gouache on paper, 29 x 21 cm, 2009
Humberto Schwab Jeane Huang
Atlantis View, Gouache on paper, 29 x 21 cm, 2009
Skyscrapers sketch, mixed media on paper, 25 x 33 cm 2009
Content & Credits
Fish sketch, mixed media on paper, 25 x 33 cm, 2009
G - Skyscrapers, mixed media on paper, 140 x 200 cm 2009
Stairs sketch, mixed media on paper, 25 x 33 cm 2009
Dubai Skyline, Gouache on paper, 29 x 21 cm, 2009
Golden Desert, Gouache on paper, 29 x 21 cm, 2009
Desert sketch, mixed media on paper, 25 x 33 cm 2009
Art Partner
Met dank aan / Special thanks to: Levant art supplies: Irmen; OPS Platics b.v.: Bernard Gosseling; Annick Starren; J.P. van Eesteren b.v.: Cees Reus, Rene Kampman, Jan Baars, John Grootemaat; Cornel Bierens; Rijnja Repro: Andre Wichary; Mansour Hafiz, Lyske Gais de Bildt, Jaap Aardse, Alexander Strengers, Joannette Balvert, Jaap Ronday, Sandra Boer, Robert Tordoir, Daniella de Buvry, Dubai Schrijvers / Writers: Mauk Mulder was hoogleraar sociale psychologie (experimentele groepspsychologie) aan de Rijksuniversiteit Utrecht; hoogleraar bedrijfskunde aan de Erasmus Universiteit Rotterdam. Zijn boek: De Logica van de Macht. Gratis down te loaden via: www.maukmulder.nl / was professor social psychology (experimental group psychology) at Rijksuniversiteit Utrecht; professor Business Studies Erasmus Universiteit Rotterdam. His book: The Logic of Power. Free download on: www.maukmulder.nl Tristan Mostert is hisoriscus / historian Humberto Schwab is natuurkundige en filosoof. Hij ontwikkelde de Eurolab method, een op waarde en filosofie gebaseerd toekomstlab. / is physicist and philosopher. He developed the Eurolab method, which is a value and philosophy based future lab. www.humbertoschwab.net Jeane Huang is chefredacteur, uitgever, schrijver / editor in chief, publisher, writer
The structure is, once again, nothing but a structure. In the fourth image, we see a desert landscape, a sea of sand, the words ‘financial crisis?’ ominously underneath it. We might be tempted to interpret this image as some sort of apocalyptic prophecy.
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Is the crisis turning the world into a desert, is the desert a metaphor for the nature of the crisis, or its ultimate effect? I think we should resist the temptation of interpreting the image that way.
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Instead, ask yourself the question: when you’re in the middle of a desert, all alone at night, what do the words ‘financial crisis’ even mean?
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‘Plato is totally right: real happiness is the product of the eternal force of Eros. This desire is extremely strong but only wise people know how to handle it. The silly ones regard it as a sexual force or a sad force for luxury; wise men see it as the force for eternal beauty only accessible for the soul. Growth is natural - that is the life cycle. Nature kills itself every year in order to grow again. Human beings can grow in culture that is endless because it is immaterial, but if we project our erotic growth potentials into material stuff it will die.’ Humberto Schwab
From: Subject: Date: To:
Jeane Huang Re: Fish Anecdotes 14 april 2009 00:31:24 GMT +02:00 Machteld Aardse
Hi Machteld: The Chinese pronunciation of “Fish” is Yu which sounds exactly the same as another character Yu meaning “Surplus” . Therefore, in a traditional Chinese New Year’s Eve dinner table, fish has to be served to wish for a new year and another year with “surplus” or plenty of savings, or having more than enough etc. Upon the fish dish (must be the whole fish, not cut fillet) was brought onto the table, a famous Chinese idiom is usually announced by everyone on the table: “Nian Nian Yo Yu” meaning “Wish you have surplus every year”. So, this is probably why fish is associated with fortune (more about money and profits but not about good luck). And it is interesting you mention the fish eye which for Chinese gourmet is the best part for the fish dish. The part of fish head, especially the eyes are considered the precious delicacy that usually reserved for the eldest or the most respected individual when eating at the same table. It is also worth mentioning about the Chinese character structure of fish which is graphically beautiful. If you have time you should look it up on the Internet and take a look at it. Love, Jeane
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Machteld C.A. Aardse (The Netherlands, 1972) Wilhelminastraat 89-II 1054 VZ Amsterdam Studio: Haarlemmerhouttuinen 167 1013 GM Amsterdam T. +31(0)207705473 M.+31(0)651776245
[email protected] www.machteldaardse.nl
2006-2010 Moving Academy for Performing Arts - MAPA, Amsterdam 2005-2007 The Dutch Art Institute, Enschede (MA) 1999-2004 Gerrit Rietveld Academie, Amsterdam, NL (BA) 1992-1998 University of Amsterdam, Art History, Amsterdam (MA) Exhibitions/Projects (selected) 2009 Nanolab UTwente, performance & video: Het Eiland, Enschede 2009 De Balie, Iran Film Festival The Best of, video: Iran en Route, Amsterdam 2009 Nederlandse Bank, Art Partner Invited, lightpainting: Goud, Amsterdam 2008 Enza & Coastal Seeds, video & painting: Everything Connected, Salinas Valley (Ca.), Usa 2008 Race fast safe car, Karateschule, solo: Aardse & Mark, Köln 2008 Stichting MediaLab, performance & video: Hello Roombeek, Enschede 2007 Le Pont, Womens Art Festival, videoinstallation: Samar, Aleppo, Syria 2007 W139/basement, Exploring New Identities, slideprojections: Portret(net)werk 24/7, Amsterdam 2007/6 The Dutch Art Institute, Here as the Center of the World, Dyarbakir, Beirut, Enschede 2006 Stedelijk Museum De Lakenhal, Brains Unlimited, video: Helma Dirks, Leiden 2005 Loods 11, Art-for-Sail, performance & lightporjection: Captains, Amsterdam 2005 Paradiso, Ziel & Zaligheid, boksperformance: Puissance Système Mobile, Amsterdam 2004 PAKT/////, boksperformance: Puissance Système Mobile, Amsterdam 2004 Stichting ZET, street project: Getekend Katendrecht, Deliplein, Katendrecht Rotterdam 2004 De Gerrit Rietveld Academie, Exit 2004, video installation: De Haas, Amsterdam
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