Sculpture and installation

 

Véronique, Véronique, 1997

Véronique, Véronique, 1997
performance with 4 sound boxes, walkman, CD, transmitter

Sculpture and installation

 

Lila la la op sokkel (Lila la la on a pedestal), 1997

Lila la la op sokkel (Lila la la on a pedestal), 1997
cardboard, pedestal, wheel mechanism, shelf
149 x 28 x 27,5 cm

Note / A rotating camera was set up at the entrance to Galerie van Gelder and connected directly to a monitor for the exhibition ‘JCJ Vanderheyden / Marijke van Warmerdam’. JCJ Vanderheyden’s camera, which recorded visitors as they entered, stood on Van Warmerdam’s green pedestal, which was used the following year in Galerie Micheline Szwajcer’s stand at the art fair Art Forum Berlin to draw attention to Van Warmerdam’s ultra-short two-hour exhibition in DAAD, Berlin.

Sculpture and installation

 

Roterende camera/sokkel (Rotating camera/pedestal), 1997

Roterende camera/sokkel (Rotating camera/pedestal), 1997
in collaboration with JCJ Vanderheyden
cardboard, pedestal, wheel mechanism, shelf, monitor, video camera
149 x 28 x 27,5 cm en 44 x 58 x 58 cm

Sculpture and installation

 

Eenarmige bandiet (One-armed bandit), 1997

Eenarmige bandiet (One-armed bandit), 1997
slot machine, multi media
147 x 48 x 47 cm
edition 3

Note / The rotating motion of a fruit machine and the clinking of coins when a row of three identical fruit appears led Van Warmerdam to put her own spin on the gambling machine: ‘I want to get rid of all the pictures and replace fruit with texts such as “I love you” and “Be my guest”’.

Sculpture and installation

 

Deuren (Doors), 1997

Deuren (Doors), 1997
installation with 43 glass doors, door-closer with relay, door handles, fluorescent lighting
variable dimensions

Note / As lessons begin the classrooms fill up, and when the doors close the handles glow red. In the corridor it is then possible to see in which classrooms lessons are being given and which are empty.

Sculpture and installation

 

Golf (Wave), 1997

Golf (Wave), 1997
sound, tape, tracks recorder, speakers
approx. 3.500 x 200 cm

Note / For a long corridor in the temporary accommodation of the Van Abbemuseum in Vonderweg in Eindhoven, Van Warmerdam made a soundtrack of oars breaking the water that moved through the corridor acoustically alongside the visitor.

Sculpture and installation

 

Big bag, 1997

Big bag, 1997
computer, motors, boxes, paper
approx. 220 x 110 x 60 cm

Note / Recycling, duplication and reacting to previous works in a different form is a method that the artist developed at an early stage. Big bag is not only an enlargement of Brown bag from 1995, but also a development due to the fact that Van Warmerdam used a computer-controlled mechanism to make the paper bag rustle and crumple.

Other works

 

Heen en weer (Back and forth), 1997

Heen en weer (Back and forth), 1997
screen print on paper
118 x 175 cm / variable sizes
edition of 10 sets, each set 2: arrows, 20 stripes

Note / During the exhibition ‘Mitenand’ in the Migros Museum in Zurich, the works in the front of the museum, Vuilnisbakken, Good days, bad days, Don’t walk, walk and Chasing colours, had to be connected to Koor (Choir), which was displayed at the rear of the museum. As a bridge Van Warmerdam plastered a wall with arrows, which pointed to the rear space of the museum. Similarly, arrows also pointed in the opposite direction, towards the front space.

Other works

 

Don't walk, walk, 1997

Don’t walk, walk, 1997
colour photo, perspex, aluminium
180 x 270 cm
edition 5 + 1 AP

Don’t walk, walk, 1997
study – colour photo, perspex, aluminium
21 x 29 cm

Note / MvW: ‘I stood waiting at a pedestrian crossing on 5th Avenue and saw that both signs were lit simultaneously. That resulted in comical confusion. I immediately wanted to make a film of this. The New York Police Department provided me with traffic lights that could be switched on and off manually. The film I made with this was rather dull so it eventually became a photograph.’

 

Hidden works

 

Stropdas (Tie), 1997

Stropdas (Tie), 1997
in collaboration with JCJ Vanderheyden
copy print on fabric
144,5 x 9 cm

Note / Van Warmerdam and JCJ Vanderheyden designed a tie on the occasion of their exhibition in Galerie van Gelder. On the left-hand side of the tie a bear stands on its hind legs, while on the right-hand half the bear appears to be scratching the head of JCJ Vanderheyden as he takes a photograph.

Hidden works

 

Spot the differences, 1997

Spot the differences, 1997
screen print, paper, aluminium
70 x 50 cm
edition 50

Note / On the occasion of the tenth anniversary of Portikus in Frankfurt, director Kasper König asked Van Warmerdam for a contribution to the catalogue. She expressed the status that this internationally renowned institution has acquired in a photograph, by adding four Corinthian columns to the existing six in the building’s neoclassical facade and by removing a bird from the edge of the pediment as a subtle reference to the ten years gone by.

Hidden works

 

My car as though it were driven on the moon..., 1997

My car as though it were driven on the moon…, 1997
offset on paper, shelf
10,5 x 14,8 cm
unlimited edition
publisher: Museum für Gegenwartskunst, Zürich

Note / During Van Warmerdam’s exhibition in the Migros museum, Bruce Nauman’s neon work My Name As Though It Were Written on the Surface of the Moon from 1968 was also on display. Nauman made this work in response to TV pictures that were sent back to earth with a delay from the lunar orbiter, which resulted in an elongated image being received. On seeing the neon text ‘bbbbbbrrrrrruuuuuucccccceeeeee’, Van Warmerdam imagined how it would sound if she were to drive a car across the moon. Because of the moon’s negligible atmosphere, after an initial pop the sound would reach no further than the text on the card.

Hidden works

 

Very good, very bad, 1997

Very good, very bad, 1997
inlay in catalogue ‘Single, double, crosswise’
screen print on 2 stickers
ø 7 cm, ø 7 cm
edition 190
publisher: Stedelijk Van Abbemuseum, Eindhoven

Note / For the catalogue Single, double, crosswise the artist made two stickers that the reader could stick somewhere in the catalogue. By her own account this sticker was ‘a response to the posters Good days, bad days and compared to them also a step further’.

Hidden works

 

Grote zak met man (Big bag with man), 1997

Grote zak met man (Big bag with man), 1997
screen print, paper, aluminium
70 x 50 cm
edition 50
publisher: Galerie van Gelder Editions, Amsterdam

Note / During the installation of the exhibition ‘Single, double, crosswise’ the paper Big bag was held aloft with outstretched arms by director Jan Debbaut to give an idea of the size of the sculpture. Van Warmerdam took a photograph of this, which she later made into a poster that was put up in the vicinity of the museum by fly-posters, and which she also made into an edition.

Hidden works

 

Vrroem (Vrroom), 1997

Vrroem (Vrroom), 1997
offset on paper
10 x 15 cm
unlimited edition
publisher: MuHKA, Antwerp

Note / For her solo exhibition ‘Vrroem’ in the MuHKA in Antwerp, Van Warmerdam presented a reaction to the comic book culture for which Belgium is renowned. Visitors were able to take a postcard home with them as a souvenir of the exhibition.

Exhibition views

 

Bonjour, bon echo
Centre d’Art Contemporain, Fribourg, Switzerland, 1997
Solo exhibition

Exhibition views

 

Mitenand
Migros Museum für Gegenwartskunst, Zürich, Switzerland, 1997
Solo exhibition

Exhibition views

 

Skytypers
Janice Guy/Kim Heirston, New York, United States, 1997
Solo exhibition

Film and video

 

Echo - Hello version, 1997

Echo – Hello version, 1997-2000
S-16 mm film loop, colour, sound, 3’32”
projector, loop system, projection table, CD, CD-player, speakers
approx. 200 x 334 cm
edition 3 + 1 AP

Note / In 2000 Van Warmerdam made a ‘Hello version’ for the London Lisson Gallery. She hired a number of actors who call out ‘hellooooo’ with an echoing voice several times in the film loop. This was used as
a greeting for the visitors to the gallery.

Film and video

 

Echo - Swiss version, 1997

Echo – Swiss version, 1997
S-16 mm film loop, colour, sound, 3’32”
projector, loop system, projection table, CD, CD-player, speakers
approx. 200 x 334 cm
edition 3 + 1 AP

Note / For the ground floor of her exhibition ‘Bonjour, bon echo’ in the Centre d’Art Contemporain Fri-Art in Fribourg, Van Warmerdam invited a number of Swiss artists, whose combined (family-name) initials formed the word ‘Fri-Art’ and the street name ‘Petites Rames’. These were: Fleury, Rondinone, Ikemura, Armleder, Rütimann, Thomkins & Pozarek, Emch, Toblerone (not an artist, but a huge bar of chocolate), Ireland, Tinguely, Eigenheer, Schiess, Robert-Tissot, Anüll, Moser, Epars, and Schnider. For the first floor she made a film of a typical Swiss mountainside, at which Michel Ritter, director of the CAC, shouted the names of the Swiss artists, which then returned as an echo.

Film and video

 

Koor (Choir), 1997

Koor (Choir), 1997
2 x 16 mm film loop, colour, sound, 6’39”
2 projectors, 2 loop systems, perfo machine, amplifier, speakers
approx. 77 x 104 cm / 400 x 575 cm
edition 3 + 1 AP

Note / For the exhibition ‘Mitenand’, which means ‘together’ in Swiss German, Van Warmerdam made a film of a choir performing a contemporary work by composer Roderik de Man. As companion piece she filmed a young man yodelling in the Swiss Alps. In Koor the footage of the choir, filmed from behind, is alternated with a shot that refers to the local yodelling tradition.

Film and video

 

Skytypers, 1997

Skytypers, 1997
16 mm film loop, colour, 6’23”
projector, loop system, projection table
approx. 210 x 280 cm
edition 5 + 1 AP
added: ProRes 422 HQ, aspect ratio 4:3

Note / MvW: ‘In New York I regularly saw advertising texts in the sky above the city in the form of matrix letters, which were radio-controlled from aircraft. That gave me the idea of hiring five pilots and having them draw an abstract and Morse-like trail across the sky.’

Film and video

 

Biljart (Pool), 1997
16 mm film loop, colour, 3’53”
projector, loop system, paper, aluminium, mirror, shelf
projection size 18,4 x 13,6 cm
edition 5 + 1 AP

Note / MvW: ‘I once saw a photo of a pool champion in an American newspaper. I wanted to recreate that. It had to be something that is motionless and moving simultaneously.’ The film loop shows a pool player standing with a cue in his hand, waiting. While the man looks straight ahead, occasionally a pool ball rolls past.

Film and video

 

Empty house, 1997

Empty house, 1997
16 mm film loop, colour, 0’39”
projector, loop system, projection table
approx. 210 x 280 cm
edition 3 + 1 AP

Note / MvW: ‘One day I was visiting Barbara Bloom in Long Island when I saw an empty house for sale. We had a look around inside. The image of the deserted rooms lingered and I wanted to film that emptiness.’

Film and video

 

Beer (Bear), 1997

Beer (Bear), 1997
2 x 16 mm film loop, colour, 6’06” / 3’53”
2 projectors, 2 loop systems, 2 projection tables
approx. 210 x 280 cm each
edition 3 + 1 AP
added: ProRes 422 HQ, aspect ratio 4:3

Note / In the run-up to her first museum exhibition in The Netherlands, Van Warmerdam was thinking about a new work while pacing up and down in her New York studio. After a few days she became aware of this pacing. The Dutch term for pacing up and down is ‘ijsberen’, which also means ‘polar bears’. That persuaded her to place a tame bear in a doorway and, by filming it from two angles, make a double film loop. The bear became restless during the shoot, probably due to the heat from the lights, so it had to be returned to its trailer prematurely. The film was later reshot at the home of the bear’s trainer.