Barney de Krijger                                         								Text

 

 

 

 

 

Text a Collection

NOGONO 2004 
Film & performance 

NOGONO = a short video film made in one day in which is shown an insight view of the cultural lifstyle of Japanese people who have their domicile in Holland, visitors (tourists) etc. Completed with the life film sound of a huge selfmade Koto (260cmx55cm h. 65cm.) The presentation toke place during the Culture Night at the Vrije Akademie in The Hague /The Netherlands

The Koto was positioned on the floor right in the middle of the projection screen It has a simple piano winding mechanism to strengthen the snares on the bridge and amplified by contact mic’s . The life film sound performed on Koto by Mai Karasawa and Yuki Nasashima was completed on the screen with the projection of Japanese people in Holland and other related images. Collected on the streets, restaurants, a Japanese video shop and a supermarket in Amstelveen and Amsterdam.

Koto Music and Scores
Koto music has evolved for centuries, and continues to change to this day. Originally koto scores were not written down. Many koto players were blind (koto playing was, for a time, an occupation reserved for blind people), and so writing down scores made no sense. As with many other crafts, the repertoire was maintained entirely by memory and passed down through apprenticeship.

02 –09 2004           

Although music was not written down, the strings were named. The string names for the first ten strings are simply the numbers 1-10:

1.Ichi   2. ni  3. san  4. shi  5. go  6. roku  7. shichi/nana   8. hachi 9. kyu 10. ju 
The last three strings are named: 11. to 12. i  13.

“LOCAL - GEOGRAPHIC”

theater Zeebelt – programm “Nu - Continu” 12th & 13th of december 2003.

In situ and and in front of the eyes of the audience there was coming into existence an artificial movie titled: “Local Geographic” with the support of analogue/digital recording and projection apparatus.

 The references of the movie is based on the enormous overdose of documentary films which are shown nowadays on TV like Discovery channel, Animal Planet, National Geographic and so on .
The installation exist of a long open tube (gutter) with on the n bottom a light box of ± 6 mtr long 30cm. wide and 20 cm. deep.
On top of this lighttube (gutter) I construct an overhead projector (old Liesegang) on rails which functioning as a analogue scanner and turning by hand with a crank it slowly rolls over the light gutter.
On the overhead projector there was a CCD digital video attached witch is capturing the image directly from the overhead projector and in realtime projected with a video beamer.
In the light gutter where laying all kinds remnants from my studio, for instance parts I used in the stereo movie “Dump”1999 (artificial waste disposal), found footage, screws, tape, batteries, photographs, parts of electronic and so on, and so on.
The structure of the movie, which existed in this way in real-time, forms a organic layer, in which elements as time, challenges, subjective association and a constantly chancing context of image and material plays an important role.

Of an essential importance in this cinematographic installation is the ‘Voice Over” (commentator) who is life reacting on the projected images.

“The form of the event, showing,  is an activity which trying to influence the situation of the spectator, to transform., by which looking becomes more than passive  watching.
Emille Poppe- ‘the Spectator & the spectacle’ Versus 2/1989 magazine of film & theaterperformance)

1th, day  - English version – Helmut Nickels  - België (cineast – philosopher - artist)

2th. day - Dutch version - Willem de Ridder – Nederland (broadcaster & master storyteller)

 

“LUCIFERS LAB”2002/03 

The installation  “Lucifers Lab”. Was part of the exhibition the “Crystal World” of the book of J.C Ballard) organised by  Outline Foundaton  (curator Christiaan Bastiaans) at Amsterdam in December  2002 till  januari..2003.

 The installation “Lucifers Lab” referce on the contemporary and futuristic developments of science,klonen, genetic manupulation, bionic sceine and so on. exist of 3 mini breeding greenhouses  with a total lengt of 3meter and standing in a larger greenhouse of 5.50x500x3.50high. The breedingboxes are placed on a tableconstruction and together they form  te beses of laboratory looking ambience.The seedbed is loaded up with casted brains, alternate casted  in plaster or epoxy resin, partly as mature, embryonic stage or amorphe.This brainshaped broods are laying on a soft transparence clinic illuminating synthetic fibre.The table is functioning as a lightbox  covered up with the synthetic fibre there exist a diffus illumination of the bottom and the transparance brains. 14 november 2002

The source of inspiration for this installationis is of literary origin.(see the following citats and references.
J.M Coetzee, Dusklands - (chapter III -page 30)

I am living in a crystal life nowadays. Exhorbitant formations flower in my head that sealed airless world. First the enveloping scull. Then a sac , an amnion : moving . I feel the slip-slop of passive liquids; at night the moon draws faint tides from ear to ear. There I seem to be taking place.

William Burroughs - The”Control Machine"The”Control Machine”

curator; Christiaan Bastiaans

Erik & Filip
1 + 1 = another one 2002

 The starting point of the project is based on the first stereoscope of Sir Charles Wheatstone (1802-1875) on which the left and the right drawing could be seen stereographic without the use of lenses but only with two  45 degree placed mirrors in the center.  A few months later he experimented with the brand new Talbotypes in the same manner.
With this new method there exist by viewing flat images a stereoscopic effect and forms an idea of dept and space as we percept in reality.

The installation consists of two enlarged photographs of a one-egged twin (120x120cm.) each mounted on the left and right wall with in the middle of the space a construction of a cubical mirror.
From the right point of viewing distance exactly on the curve of the two mirrors the spectator has the perception of a three dimensional photographic image.
By the way of the setup of the stereoscopic construction there exist an optical illusion, which represent the photograph in the mirror as a virtual reality.
This created an alienated effect concerning the real space and the virtual space of the photographic image. The work could be interpret as a voyage from the eye through the brain, in which each eye sees a tiny difference of a certain image, which in a miracles way merge together and interpreted by our brain as a three-dimensional image.
What took place is a visual shift of the photographs on the wall through the stereo image in the mirror, suddenly the image is not that of two persons of which each caring one suitcase but there is ostensible a third person with two suitcases.
30-04-2002

Urban Wallpaper

The  photographs existed  in 2000 - 2001
A period in which I beside my work as an artist had a job as taxidriver.

At a local bookshop I bought a  bunch of cheap (looks the same as the nowaday
expensive LOMO’s) plastic Four Lens camera’s. This camera I taped on the dashboard
and registrated at ad-random the constantly chancing environment.
By driving around I made in this period  ± 500 snapshots of which  at the end eat least  ± 350 where useable.The camera has a rotating shutter, which made 4  images in succesion on a negative format of 24x36mm. From left under to the right side above. This gives the photographs a pseudo cinematic character and a suggestion of movement, which is hardly noticeable. It was given fact that the camera’s where untrustworthy and didn’t deliver perfect photographs, the luminous intensity of the lenses is weak, but despite this technical manco’s the results where of magnificent and by leaving over to coincidence unexpected raw images.
The reproduction of the analogue photographs into digitalized and printed wallpaper (format ± 110x250cm.) printed with non UV protected inkt, will be slowly disappearing under the influence of daylight could be seen as a metaphorical transformation of time, space and perception in a continuous changing urban landscape on the edge of the 20th to the 21st century.

DUMP (artificial waste disposal) 1999

The starting point of the project is based on the first stereoscope of Sir Charles Wheatstone (1802-1875) on which the left and the right drawing could be seen stereographic without the use of lenses but only with two placed mirrors in the center. 
A few months later he experimented with the brand new Talbot-types in the same manner.
With this new method there exist by viewing flat images a stereoscopic effect and forms an idea of dept and space as we percept in reality.

The installation consists of two projected stereo-films one on the left and one on the right wall with in the middle of the space a prism construction of two placed mirrors.
From the right point of viewing distance exactly on the curve of the two mirrors the spectator has the perception of a three dimensional image.
By the way of the setup of the stereoscopic construction there exist an optical illusion, which represent the movie in the mirror as a virtual reality.
This created an alienated effect concerning the real space and the virtual space of the cinematographic image.
The work could be interpret as a voyage from the eye through the brain, in which each eye sees a tiny difference of a certain image, which in a miracles way merge together and interpreted by our brain as a three-dimensional image.
What took place is a visual shift of the movies on the wall through the stereo image in the mirror that looks ostensible as a three-dimensional image.
The movie shows in the beginning an empty tunnel with in the back a driving bulldozer, which is slowly dumping bit by bit an enormous pile of used and unused materials into the tunnel.
The installation can be seen as a metaphor of all kind of remnants which are piled up in time at my studio, used in former artworks or kept for other reasons. 


Presentation: het Paard – The Hague - Holland - 1999

project  “Re/constructies” : Cell -initiators of incidents – Rotterdam

The Viewing Box (camera obscura) 2001

From  the 19th of august till the 2th of  September 2001I participated (on the invitation of  Kuznia Artystyczna –Wroclaw) in the 1e International Sculpture Workshop at Wroclaw - Poland.
My contribution exists of a in the environmental space placed and open for public interactive object, namely a waste wood constructed Camera Obscura.
The frame of reference forms the in former times applied optical techniques of the camera obscura which by improved lenses ( Giovanni Battista della Porta – Magia naturalis 1558 – description – converging lens) forms a ultimate drawing instrument to reproduce the surrounding area as realistic as possible and in the right perspective
Another important facet within the installation forms the physic perception of how an image comes through light and a lens into being.

The original idea was to build a portable camera obscura, which as a meandering mobile viewing box could be placed on different spots of the city Wroclaw.
By using the camera obscura as a mobile object and driven slowly through the city it would give the audience inside the camera a cinematographic experience of the projected image which I would like to have applied into this installation.
Unfortunately, because of bureaucratic circumstances it has not been realised, but despite the limitations and with plain materials I created a kind of basic camera obscura.

Natural Conditions 1993

: is the title of the exhibition and installation of Barney de Krijger organized by Stroom HCBK and shown in the temporary available space of the Quartair Foundation. The title is a paradox: the objects and images he shows are removed from their natural environment and put together in a difficult to interpret ensemble. His method consists of recordings, perception and intriguing objects which were merged together into one installation. This assemblage goes primarily by way of the association. Reuse and copying is the key, because both the objects and ideas have already been in other contexts and proven their worth

The artist is Interested in the border area between the appearance of things natural and the artificial reflection thereof.
Oak parquet in the brochures touted as a natural floor to the warm atmosphere of honest wood. But what there is of course a right cut and polished floorboards in a herringbone pattern? Is such a floor is not as artificial as a rock of plastic. Indistinguishable from a real rock, but easier to transport.
You find them under plastic palm trees in tropical swimming paradises. Undisputed bad taste. But perhaps not always and everywhere. Is beauty an essential feature of an object or an added quality that depends on the time and place? You decide.

text: Hans Oerlemans 1993

Drawing1980/1990

19
The drawings shown are an important episode in my work and described as character acts.
The combination of the direct evidence of the technique used, the simultaneous drawing, as an act is the subject of the work.
Sometimes served as a starting point and the visible reality creates recognizable forms in other cases there is a non-figurative end result resembling a purely rhythmic notes there.
Several artists have made drawings simultaneously, including Dieter Roth made drawings from the center which two mirror-image versions of the same picture emerged.
The simultaneous drawings shown here are made from a very different perspective.
The left-and right recorded entirely separately, the right hand and drew the top left hand corner of the sheet in this way the motor of the left and right disrupted and essentially created two different versions of the same character act.
This style of drawing was a deliberately imposed by myself, disability, a form of training and research to achieve new images.
If right-hander worked the court controlled drawing as reference for the left hand, while both were tin and place the physical handicap arose seemingly uncontrolled (pseudo scientific method) works.
Within the medium signs emerged that procedure for me new opportunities and a total loss of freedom that I could go.
From this quest and experiments are drawings created as 'controlled drawings' where the left hand holding the pen drawing and guided by the right and visa-versa.
Originally I am right handed and a left-handed works of similar quality can also hardly distinguish me.
With the illusion that I created a new visual language and greater freedom as an artist, I have achieved good life.

 Camera Obsura & Lucifers Lab 
text - Philip Peters 

- "Camera Obscura" (Wroclaw, Poland in 2001) consists of a camera obscura made from scrap wood and placed on a public square. The camera obscura was traditionally a tool for artists to construct a proper perspective. In those days it was a modern tool that met the requirements of the time. That is no longer of any value and besides in the meantime a camera obscura also no longer needed as it is about perspective – and as being a theme in art of our time no more of the issue). For this technique, this is not, though it might have the appearance of. On the other hand, we immediately have that fact printed by the camera obscura made from waste wood, in which the status of the thing as a technical object already indicates: that is minimal and it is questionable whether this construction in the weather and wind would long endure. We must therefore find a different meaning those who do not renounce the camera obscura. And indeed, here, on the Polish square, the camera obscura is a way of perceiving. Unlike the case with the traditional use of the camera obscura this one is accessible for the public, indeed, it is necessary that one enters, to understand what is going on: the inhabitants of Wroclaw seen from and through the camera obscura their familiar square, but not in the usual way because here it is because of the nature of the lens on his upside -down. The reality is reversed while you stand in the middle of it. Where the earlier reversal of the painter did little significance because it was only a means to 'realistic' perspective to create a pictorial reality that eventually just been presented in the normal position is that property of the lens are just as theme, or, rather, as a means of changing reality. If the visitor looks even with the eyes of the artist, that is, with eyes of the early twenty-first century in which "the" reality no longer taken for granted because the definitions it disintegrated because fiction and reality have been confused, especially by media as photography, video and photo shop literally anything to explain reality. Why the square in Wroclaw or not with equal right to stand on his head? The interesting thing about this particular form of manipulation is, in my opinion, he is so simple and the most rickety means established that the theme of the changing reality, manipulating our everyday images, themes and commitment to self of the work. With a technique like Photoshop it is on the contrary not done correctly, which is typically a medium where all tracks (should) be erased, as in the final painting, the product of the camera obscura, where everything just stood upright. In this sense the work refers to the history of the technological manipulation of reality, it gives with the help of a bit of wreck timber and a relatively primitive lens insight into our way of seeing and experiencing. You could say that this work in this way a kind of deconstruction of manipulation techniques as photo shop represents. Thus, in a historic square in a historic town, which have become modern times and belongs to the EU, historical materials are used to explain (clear up) continuity and relativity of these manipulations. Then suddenly also the work is about history and current affairs, the context in which a value is not unimportant: after all it is only recently that in Poland any reality was manipulated by the authorities based on misinformation in a structure where nothing and no one fell to be trusted.  In a sense there, says this work, not so much changed, although the mechanisms may now in the manipulation of the public on a square be drawn, but now there are still other forms of visual manipulation that we often cannot as such recognize the sophistication of the technology. Therefore, using this old media make sense, because from an earlier stage of evolution the image provides information about disinformation, manipulation of which by now manipulates opposite to past shows and then not much changed. This work also adds that in a typical Dutch, didactic tradition: it is not all vanitas? Finally it calls the square structure at another association: that of the puppet show, a stage of small format where children to the loudest screams: "Punch! Watch out behind you! "Only now the situation is reversed. It is the artist who lets you know and understand what he says is up to you in the charade. Within the warning appears to have been right: everything is suddenly on his head, once again comes out on his feet all right, like punch, but we are wiser: not everything is as it seems, we are out noted.

- "Lucifer's Lab '(Stichting Outline, Amsterdam 2003) is an installation that consists of three greenhouses such as those used in horticulture, but in table format. In it are casts of brains that differ by the materials used (plaster, epoxy, etc.) and their growth stage. They are, in short, brains of all kinds, type and shape. Give some light in what otherwise is a rather dark environment. The whole is clearly a laboratory, though it seems to me, what a ramshackle laboratory in which brains are grown in greenhouses. Cience don’t work that way. They do not breading  brains. But the literature has a great character in a sense a similar way with brains going on, Count Frankenstein from Mary Wollstonecraft book "The monster of Frankenstein" is used mainly by many film versions of his fascination until today has not lost. This theme is so popular even now do not wonder, indeed, it is more topical than ever. The investigation of brain chemicals associated with disease progresses rapidly and conduct any discovery while simultaneously becoming clearer how much more there is to explore. Like all research on human genome science is now in the hands of the sorcerer's apprentices risk to fall in erroneous applications will go on and - this is the biggest fear - deny the humanity of the man to move to growing a ‘Übermensch’. That fear is of all times and has to do with a kind of fight or flight response against its own identity that appears in danger. A common view: "The man who plays God." This is the fallen angel Lucifer one of the oldest symbols in Christian mythology: that’s why Lucifer Lab. In that sense this work, as discussed above the 'Camera Obscura', of all times and just as that work as it has an extra news in the scientific / technological reality: the study of neurotransmitters such has brought that whole tribes in common inadequate grounds on Prozac, one of the many psychotropic substances that interferes with neurotransmitter metabolism and it changes the mechanisms which cause remains largely unknown. Actually there is something changed in the brains, for better or for worse, perhaps sometimes both. Frankenstein (as a metaphor, we can kill no living people from making) among us, indeed: we are the self! If we within the terms of de Krijgers continue to work, we say: here is the (a) manipulated reality, a different perception of reality and causes on a scale that is nearly as massive as that which the media do. Growing brains is a means to manipulate (the perception of) reality. Ultimately it may be a means of power in the hands of mad dictators, a battle which the world into East and West today not exactly lacking. That is what Lucifer Lab shows us once again. And just as before the old camera obscura was used for communications with a historical dimension to bring about manipulation of the image in the here and now is again a traditional, seemingly innocent vehicle used, the greenhouse, the life-giving and bringing food is, support employment and export products that deliver important to the economy. Precisely that combination of innocence and sophistication, waste wood or glass and modern engineering techniques give the work its urgency and an abrasive visual vocabulary which serves a substantive communication. In Lucifer's Lab is perhaps hope (as there is always hope), which is also be seen in the combination of the title and the picture: some brains in the greenhouses shine, 'Lucifer' literally means 'light bearer' and he was only a "fallen angel" after the fall, which implies that a situation existed before the fall and perhaps the effects of the collapse are also abolished in all perspectives of this new science is and why it should not matter play? Another association is with luminous insects (the substance that causes light called "Luciferin"!) Of glow-worms to false guides - an association which from a literal analogy between insects and brains to metaphor: perhaps some brains (some people, some aspects of society, of the world) towards Enlightenment - in political, psychological, mystical and / or emotional sense - and they point the way there. While it is clear what is going on: when we understand the mechanisms that we, our reality, our perception of "reality, our identity, we are already handling a lot wiser. In any case, this work makes clear that something is brewing again and again that we are subject from different angles by visual means treated without visual cliches to expire, which is subject to this kind lies in wait.

Philip Peters 2006

 

< index