Next to the Design Academy, a 10 minutes walk to both central station as to the Van Abbemuseum.
open during exhibitions
Thursday to Sunday, 13:00- 17:00
and by appointment
Book launch, opening exhibition and performance Paul Segers
Saturday, March 11, 16:00 - Saturday, February 11, 21:00
opening Paint & Polish feat. all weekend nail studio
Friday, May 26, 20:00 - 22:00
OH MY GOD!
IT IS SO ****** AMAZING TO BE AN ONOMATOPEE FAN ON FACEBOOK AND TO FOLLOW THEIR TWITTERFEED: I JUST CAN’T WAIT TO SHARE AND RETWEET IT ALL!
5/12/2016 - 26/02/2017
open Thursday-Sunday, 1-5PM
(winter break 22 Deecember - 1 January)
Even though when we look into outer space what we see are light sources, carriers of traces from the past, we associate outer space with the future. For instance in astrology, the movement of celestial bodies are believed to have an influence on the future development of life on earth, and throughout history flyby comets and falling stars are believed to have brought respectively disaster or opportunity.
This projection screen of human destiny has evolved into the ambition to conquer and colonize cosmic space, escaping possible disastrous developments on Earth. For many ‘visionaries’ the only way for humankind to survive is to expand human territories to the Universe.
In Marjolijn Dijkman’s film an asteroid, which embodies a potential threat for life on Earth, might as well become a prospect for the completion of the human desire to colonize space. The space-fiction animation presents us with the tension between these futuristic scenarios and evokes the human fear, curiosity and the ideological sources of such project. Besides these topics it circumnavigates an ancient fundamental human question: are we alone?
The accompanying multilingual narrative is a collection of quotations from various found sources, including science (astrophysics, cosmology, cognition) to spiritual approaches and historical resources, expressing curiosity and desire of space exploration, going back as far as 1500BC until today. The text is translated into Chinese and English accompanied with five other changing languages (Hindi, Arabic, Russian, Japanese and Spanish), all largely spoken official world languages and relating to countries involved in important space programs, astronomical projects, search for extraterrestrial intelligence and future asteroid mining. These texts often speak in ’the name of humanity’ in a quite conflicted way. The multiple languages enhance the suggestion of a universal voice and in the same time add another layer of complexity in the interpretation.
The object on display That What Makes Us Human is a 1:1 titanium 3D printed reproduction of a Canyon Diablo Meteorite, which fell on Earth 50.000 years ago. The meteorite fits perfectly in a human hand and resembles flint tools that prehistorical Paleolithic humans used around the time of the meteor’s impact. The object, which might been used as a weapon or a tool, signalizes the beginning of an era when human consciousness was evolving, eventually leading up to the development of technological devices that make a similar impact on earth as a meteorite. The titanium copy of the meteorite here rests on a silicone replica of a human hand – in times when humanity is able to create H-bombs, which may release larger forces than an impact of a meteorite. The sculpture is a speculative artefact dedicated to this evolution of technologies, and our quest for cosmic powers.
The work of Marjolijn Dijkman often uses tools of science fiction, taking upon scientific matters and bringing them into the realm of projection and speculation. Ranging from photographic archives and films, to landscape interventions and sculptural works, her practice concerns itself with futurology, history, museology, human geography and ecology. Her works have been shown in solo and group shows, including in London, Melbourne, Norwich, Birmingham, Bristol, Berkeley, Mexico City, The Hague, Barcelona, Tbilisi and the Marrakech, Mercosul and Sharjah biennales. Parallel to her exhibition at Onomatopee, she is one of the ’terminal artists’ of the 11th Shanghai Biennale.
Curated by Kris Dittel.
technical support: Guus van der Velden
production assistance: Pernilla Ellens
Opening March 11, 16:00
At 16:30 Paul will deliver his performance, ‘Bullet Head & the Exit Goons’. We will celebrate the launch of the book accordingly, with an introduction by Sebastian Olma, professor for Autonomy in Art & Design.
The work of Paul Segers, born and based in Eindhoven, gives prominence to manifestations of lurking excess: illusive and thought-provoking scenes, portraits and landscapes. In his work, threatening signs of acceleration, polarisation and technological overload are configured.
The exhibition consists of two parts. First of all, the performance ‘Bullet Head & the Exit Goons’, situated in an in-between of something like a staged studio set and a slaughterhouse, will deal with a rather robust physical social exchange. The performance will be documented; the “stage” will be left unharmed after the performance for the duration of the show.
Second is the first screening of a video made in Helmond: Mark the Points of No Return (2016). In the publication, launched at the start of the show, author and cultural critic Mark Dery writes about this work: ‘For 13 days and nights, the patient, a 40-year-old white male (hereinafter, “P.”), lived in a guerrilla campsite on the grounds of the Cacaofabriek arts center in Helmond, in a hovel he’d cobbled together from the remains of previous works: wooden beams, metal struts, plastic sheeting. He took up residence in his makeshift abode after the opening for a group exhibition, “Nonfiction” (2015), of which his encampment, “Mark the Points of No Return,” was a part, he said. In documentary photos, we see P., barefoot but still wearing the dark suit he wore to the opening, pottering about amid the bare necessities of civilization: canned food, a water cask, a campfire, a short-handled axe for splitting firewood, bottles of wine and wine glasses, a typewriter, toilet paper, a copy of Hardt and Negri’s critique of globalization, Empire. In a video, he bathes naked in a nearby canal, its black waters scummed by algal bloom. As the slate-gray sky grows light, he sits, stolidly watching cars whoosh past on the adjoining roadway, tires thrumming.’
As many certainties of the past are overturned, the surreality of “the outsider” might become more acceptable to conservatives’ experience. Paul Segers builds on the hypothetical opportunities of the settings in these scenes, delivering an array of hard-core exposures. Rigorously broad-minded and without any bias, these scenes are real scenarios.