Wen Chin Fu is a performance artist from Taiwan. She is interested in the relationship between sound and body behavior in a performative way. After graduating in classical music, she decides her study in ArtScience Interfaculty, The Royal Art Academy , Den Haag, Netherlands. Wen chin is currently lives in Den Haag, Netherlands.
Her performances explore the relationship between physical movement, sound and the environment. A key element of her practice is concentration, which opens the senses for perceiving things through new perspectives.
In my performances, videos and installations, I try to deal with the way human beings decorate and relate to their (home) environment. For the last two years, I was mainly interested in wallpaper, floors and carpet with prints that relate to nature: marble-printed plastic, laminate, wood printed wallpaper etcetera. In my work, I play with these layers that are added to a space and that can direct our behaviour, and the way looks can be deceiving (concerning spaces and people). I think one of the reasons I’m interested in surfaces, and especially in pointing them out and breaking them, is that I find it fascinating how some people seem to be able to adapt to different environments and understand the social codes that come with it.
In her carefully constructed but direct performances, Jolanda submits her body to various transformations, or rather deformations, to engage with the possibility of self-reinvention and release from cultural determinations. Her work often stages the passage from a sexualized female body to an animal-like corporeality as a way of challenging constraining definitionsof self and of femininity. And it is not only her own controlled body that the artist hoes todisorganize and transform; her performances also intend to provoke viewers out of their routine bodily behaviors. To do so, she often uses the camera as a tool to invade the viewer’s personal space and engage with issues of voyeurism and gender power relations.
The work of Xavier van Wersch reflects an organical approach to the field of audio-visual art. In his compositions, performances and installations there is always an element of controlled chaos. He explores the relation between man and machine by conceiving the two of them together as a hybrid system in which erratic behaviour is the principal condition for interaction. Another common theme in his work is recycling. Like a modern Frankenstein, he constructs his machinery from parts of deceased equipment and dysfunctional devices.
Topp & Dubio is a multidisciplinary artist duo who live and work in The Hague, The Netherlands.
Topp & Dubio study and scrutinize reality from a conceptual starting point, often arising from sudden moments of curiosity and a desire to explore parallel worlds. Their projects flawlessly deal with fact and fiction, the concept of art and daily life, the personal and the public, observation and participation, authenticity, history and documentation, the romance of imagination and the absurdity of reality.
Since the start of their collaboration in 1995, Topp & Dubio have shown their work in The Netherlands, Belgium, United Kingdom, Germany, France, Italy, Spain, Portugal, Brazil, Indonesia, Cambodia, United States, Canada, Poland, Latvia, Romania, Russia and Ukraine.
Alberto Novello a.k.a. JesterN is a scientist, composer, sound and video artist born in Italy and currently living in the Netherlands. He graduated in Nuclear Physics at the University of Trieste, and then joined his passion for music experimentation and science completing the master “Art, Science and Technologies” at the Institut National Polytechnique of Grenoble, studying composition with J.C. Risset and C. Cadoz. He worked at the Philips Research, Eindhoven in the field of Music Information Retrieval producing several publications in international conferences and scientific journals. He obtained a PhD degree at the Technische Universiteit Eindhoven with a thesis in Music Psychology with A. Kohlrausch. He graduated in electroacoustic music composition at the Institute of Sonology, Royal Conservatory of Den Haag with P. Berg, J. Ryan, and R. Barret. He has assisted A. Lucier, Nicholas Collins and Trevor Wishart. His works have been presented in international festivals such as Rewire, Toolkit, Sonic Acts, Birmingham Network Festival, Koper Biennale, conferences such as NIME, ICMC, ISMIR, ICMPC and institutes for contemporary music research such as CCMAS in Mexico, GRM in France, Logos Foundation in Belgium, STEIM Amsterdam, and the Royal Conservatory of Den Haag. He was part of the Sonology Electroacoustic Ensemble. He has released his works on CD/DVD with DobiaLabel and CPSR. He has played with Evan Parker and Butch Morris in the Conduction series, and composed for the choreographies of Liat Waysbort, Marie Goeminne, and Ola Maciejewska. He has received awards and grants from the Nederlands Fonds Podium Kunsten, Regione Friuli Venezia Giulia, ResArtis together with Thamgidi Studio Fundation and Beijing Studio Center. He’s part of the Federazione CEMAT for Electroacoustic Music in Italy and AIXIA, Italian Federation for Artificial Intelligence.
Work of Ronald Bal mainly revolves around making the space gap, which plays a role in all forms of interaction, visible. By doing performances in public and personal spaces he tries to point this gap in interaction out. Ronald tries to offer his viewer, or better yet, passer-by, a notion of his or her environment and the interaction, which takes place there. Only, Ronald does not state how to fill that notion. It is rather about the ‘becoming aware of’.
His work as a performance artist is inextricable linked to the act of participation. It is inherently relational. It can not be claimed by one its elements; the artist, the artwork or the viewer, rather is exists as an experience that constitutes the three of them. Performance art, as Ronald would like to argue, inhabits a space- time that philosophers call the ‘in-between’, literally ‘being’ of the ‘middle’. Throughout his performances he aims to emphasise the value the ‘in-between’ might have for us on an experiential level. The crucial point of the concept of the ‘in-between’ is that it enables Ronald to consider art as a transformative process.
In his work he aims to consider the production and appreciation of art away from the classical subject-object distinction that has always been predominant, by investigating art’s sensitivity to it own transformation. Rather than being an abstract value imposed on the artwork outside of the creative process, Ronald attempts to investigate throughout his performances in what way and to what extent artistic value is something socially constructed. Hence my work attempts to challenge the concept of value in a capitalist context and investigates the construction of the social.
Being a social being Ronald uses his own body as the material to practice art and he portrays his own body as a poetical instrument to investigate the meaning of physical space, i.e. the distance or closeness between people, and psychological space, i.e. the intimate connection between people on an experiential level.
In order to address a larger audience and to conduct research into different artistic media Ronald records his performances. These images, mainly photos and video installations, are the results of his work as a performance artist, but at the same time they exceed the temporality of the actual performances.
The constant forms of change, which occur in the process of interaction, also come back in my sculptural work. My sculptures often symbolize a process or a happening, in which interaction and the space needed for that, is the key point. He uses the material for my sculptures as a metaphor for ‘being’ or ‘not- being’ and the process between those two states.
Sebastiaan Dijk legt in zijn foto’s en performances de nadruk op
extremisme. Hij voert een persoonlijke oorlog tegen het hypocriete
ideale familiebeeld dat religie en de samenleving ons wil opleggen.
Zijn foto’s zijn geensceneerd en altijd ‘s nachts gemaakt met
gebruik van kunstlicht of een nachtkijker. Zijn werk heeft naast
vernijn en gif ook een mate van humor in zich.
When looking at Lisetteh’s work one becomes part of a process, of an ongoing experiment. Her works are never finished. They are the start of something new, or might, for a moment, furnish a complete picture in the viewers experience. It is not a fixed and final world she creates, on the contrary, it is a dynamic and flexible one. Here unexpected meetings take place. Contrasting elements are gathering around to present the spectator an image that is both macabre and comic. These elements reflect an absurt reality wherein definitions always have to be reconsidered, cleared from past luggage. She offers the spectator an opportunity to see things in new perspectives and to value the open ending.
Liesje van de Berk
In mijn werk staan mensen, hun onderlinge communicatie en hun relatie tot de ruimte centraal. Ik stel vragen over het zijn en aan- en afwezigheid van mensen. Dit gegeven onderzoek ik in tekeningen, die vaak uitgroeien tot installaties met echte mensen, theatervoorstellingen of performances.
Een blaadje bladgoud wil ik zijn
Fragiel wapper en dwarrel ik met alle winden mee
Zonder mijn glans te verliezen
Verwonderd kijk ik om mij heen
Lichaamstaal tussen twee mensen
Een baksteen, die tot stof vergaat
Hoe verhoud ik me tot de ruimte en de ander?
Tekeningen groeien onder mijn vingers
Als een foto in een ontwikkelbad
Ik “kneed” potloodlijnen tot ze tastbaar zijn
In de ruimte bestaan
In performances ben ik aanwezig, al is de ruimte verlaten
Zo zoek ik contact met de ander en de ruimte om mij heen
Deel ik mijn glans en verwondering
Glinsterend als een blaadje bladgoud
Is it action art, performance art or live art…
Getting pretty confused about all possible terms to define this brand of art?”Performance” is the label mostly used for any “strange” action. The suffix “art” is tolerated as long as it is not emphasized… “Performance” is also used to describe acceleration, endurance, speed etc. The term “performance art” has long been used as a stamp for any action that is not to be taken serious. Sooo, is it time to look for a new term? On one hand I find “live art” sympathetic but as a statement too wide.
Even more sympathetic is “action art”, not least because of the rich tradition of “acciones” in Spain. But then, it might be too short to include any non-action…Why not introducing yet another term like “body poetry” or what, just to be faithful to the true artists eternal drive to escape definitions and refocus on new horizons.Because this is at the root of this art form: it’s new, it’s real, it’s ephemeral.And then I read Marilyn Arsem’s text “this is performance art” and I find my thoughts written down, I hear myself exclaim “yes, that’s telling it” and it reminds me that I belong to an extended group of likewise artists. So i will keep on using the term “performance art” for my actions.And, for those moments that the individual drive is bigger than the need to belong, I’ll say “body poetry” or “action art” or, to include it all: “live art”.
Wen Chin Fu http://www.wenchinfu.com/index.php?/cv/
Katinka van Gorkum http://www.katinkavangorkum.com/
Jolanda Jansen http://www.jolandajansen.nl/
Xavier van Wersch http://www.haagsekunstenaars.nl/cv/75371/Xavier+van+Wersch
Topp & Dubio http://www.topp-dubio.nl/
Alberto Novello http://jestern.com
Kunstenaars van buiten Den Haag
Ronald Bal http://www.ronaldbal.com/
Sebastiaan Dijk http://www.sebastiaandijk.nl/cv.html
Liesje van de Berk http://www.liesjeberk.nl/
Kirsten Heshusius, http://kirstenheshusius.nl/
Willem Wilhelmus http://www.willemwilhelmus.com/