Sculpture and installation

 

Namen en namen (Names and names), 1996

Namen en namen (Names and names), 1996
sound, tape, recorder, perspex, motor
23 x 47 x 47 cm
limited edition; series of unique pieces + 1 AP
issued by Haus of Prints Multiples and Drawings, Antwerp

Note / Artist Jan Rothuizen once sent Van Warmerdam a cassette tape on which he had asked various people in the street to say the name ‘Marijke van Warmerdam’. She then made a loop of this recording and turned it into a sound sculpture. It is the first tape in this edition of unique works. In the subsequent tapes the name Van Warmerdam was replaced by that of the person who bought the work. 20 copies eventually came into circulation; the production of this unlimited edition was halted on 31 December 2001 in accordance with an agreement made with the publisher.

Other works

 

Other works

 

Forever, not forever, 2009

Forever, not forever, 2009 

colour photographs, perspex, aluminium
2 parts, 120 x 178 cm each
edition 1 + 1 AP

Note / The photos Forever from 2000 and Stand-in from 2007 are combined into a work called Forever, not forever. MvW: ‘This two-part work is painful for me personally, but to the eye they look wonderful as a pair.’

Other works

 

Stand-in, 2007


Stand-in, 2007

colour photograph, perspex, aluminium
120 x 178 cm
edition 5 + 1 AP

Stand-in, 2007
study – colour photograph, perspex, aluminium
20,6 x 31 cm

Note / Van Warmerdam’s separation came like a bolt from the blue, and the work Forever from 2000 suddenly acquired an opposite meaning: ‘Not forever’. Here, the artist stands holding the work on the same spot where the photo was originally taken, undecided whether to push the work into the trees or throw it into the ditch.

Other works

 

Speed, 2005

Speed, 2005
photographs on dibond, gimbal, wire, fan
180 x 123 cm
edition 3 + 1 AP

Speed, 2005
study – colour photograph, perspex, aluminium
2 parts, 41,2 x 31 cm each

Note / One of the two sides of Speed shows a garage door without a spiral of light, which disappears in the slow rotation of the hanging photo, making way for the side with the light drawing.

Other works

 

Underwater I and II, 2005

Underwater I and II, 2005
photographs on dibond, gimbals, wire
2 parts, 180 x 123 each
edition 3 + 1 AP

Underwater I and II, 2005
study – colour photograph, perspex, aluminium
4 parts, 31 x 41,2 cm each

Note / This work consists of two panels with photographs on both sides, which slowly rotate on their own axis in the air currents produced by electric fans. Both panels show the countryside around the artist’s studio in Abcoude. Nothing ever happens there. On each of the photo panels the landscape with a ditch in the foreground is interrupted by two splashes of water.

Other works

 

Throw, 2005

Throw, 2005
photograph on dibond, wooden stick
123 x 180 cm
edition 2 + 1 AP

Throw, 2005
study – colour photograph, perspex, aluminium
20,6 x 31 cm

Note / For her solo exhibition in the CCA in Kitakyushu, Van Warmerdam responded to Zen Buddhism by photographically freezing a stick in its flight over a Dutch rooftop.

Other works

 

Mad cows!, 2002

Mad cows!, 2002
inkjet on paper, museum glass, frame
approx. 62 x 92 cm (48 x 70 cm)
edition 5

Mad cows!, 2002
study – colour photograph on dibond, perspex
20,6 x 31 cm

Note / MvW: ‘Someone once said to me, “Look, a cow with a ‘laken’ (sheet); that’s a Lakenvelder.” I’d never seen these animals in that light before, and they do indeed look as though they’re wearing a sheet. This was in the time of mad cow disease and I thought: this cow is black and white, and black and white can be reversed.

Other works

 

Other works

 

Other works

 

Other works

 

In thought, 2002

In thought, 2002
colour photograph on dibond, perspex
120 x 178 cm
edition 6

In thought, 2002
study – colour photograph on dibond, perspex
20,6 x 31 cm

Note / MvW: ‘I was walking outside my studio with a glass bubble in my hands. The farmhouses and cows reflected in it like a film. In the end I was unable to do anything with this and threw the mirrored bubble in the ditch out of desperation, where the thing remained floating. I liked how it looked in the middle of the duckweed and took a photo of it. Later I thought of also throwing a few smaller bubbles in the ditch and gave the photo the title In thought.’ Because of the way in which In thought came about, the artist says that the photograph is, in fact, a representation of the moment of disoriented ‘thought’ before an actual idea forms.

Other works

 

Walk-through landscape, 2000

Walk-through landscape, 2000
photographs, perspex, aluminium
100 x 337 cm
edition 3 + 1 AP

Walk-through landscape, 2000
study – photographs, perspex, aluminium
20 x 70 cm

Note / This wall sculpture requires a certain amount of action from the viewer to see the work in its entirety. The ‘snowy’ and ‘snowless’ mountains can only be seen when you walk along in front of the dual landscape photograph. MvW: ‘I wanted to think about something that remains, changes and that also returns. And I really wanted to make a sculpture.’ This is the final work in the ‘snowy’ and ‘snowless’ series in the Swiss mountains.

Other works

 

Forever, 2000

Forever, 2000
colour photograph, perspex, aluminium
120 x 178 cm
edition 6 + 1 AP

Forever, 2000
colour photograph on dibond
100 x 147 cm
edition II AP

Forever, 2000
study – colour photograph, perspex, aluminium
20,6 x 31 cm

Note / For years Van Warmerdam had a large number of paper handkerchiefs printed with ‘Yes’, with which she intended to make something one day. When she was thinking about a photograph of a lace wedding dress, she constructed a sculpture with ‘Yes’, which took the place of her then husband. Her own face is obscured by the leaves. She added the bird’s house in the top right corner as an iconographic element, and the tree with its foliage as a repoussoir offers a vista of an unpredictable yet sunny perspective. (See illustration p. 179.)

Other works

 

Flip a mountain - moon version, 2000

Flip a mountain – moon version, 2000
photographs, perspex, aluminium
180 x 68 cm (2 parts)

Note / Flip a mountain has three versions: pink version, night and day version and moon version. Here Van Warmerdam has extended the original plan to make a series of works that were ‘snowy’ and ‘snowless’ by straying from the mountain path with ‘pink sky above’ and ‘pink sky below’, ‘day’ and ‘night’, ‘moon’ and ‘moonless’. This extension of the mountain work caused a snowball effect in the series.

Other works

 

Flip a mountain - night and day version, 2000

Flip a mountain – night and day version, 2000
photographs, perspex, aluminium
90 x 248 cm (2 parts)

Note / Flip a mountain has three versions: pink version, night and day version and moon version. Here Van Warmerdam has extended the original plan to make a series of works that were ‘snowy’ and ‘snowless’ by straying from the mountain path with ‘pink sky above’ and ‘pink sky below’, ‘day’ and ‘night’, ‘moon’ and ‘moonless’. This extension of the mountain work caused a snowball effect in the series.

Other works

 

Flip a mountain - pink version, 2000

Flip a mountain – pink version, 2000
photographs, perspex, aluminium
90 x 248 cm (2 parts)
edition 3 + 1 AP

Note / Flip a mountain has three versions: pink version, night and day version and moon version. Here Van Warmerdam has extended the original plan to make a series of works that were ‘snowy’ and ‘snowless’ by straying from the mountain path with ‘pink sky above’ and ‘pink sky below’, ‘day’ and ‘night’, ‘moon’ and ‘moonless’. This extension of the mountain work caused a snowball effect in the series.

Other works

 

Another leaf, 2000

Another leaf, 2000
photographs, perspex, aluminium, metal hinge
90 x 128 x 3 cm
edition 3 + 1 AP

Note / Van Warmerdam found the ‘bow’ shape on the mountaintop so exceptional that she decided to make ‘another leaf’.

Other works

 

A new leaf, 2000

A new leaf, 2000
photographs, perspex, aluminium, metal hinge
90 x 128 x 3 cm
edition 3 + 1 AP

Note / Van Warmerdam sees A new leaf as a reaction to Fake lake.
Instead of being upside-down and above one another, photographs of
a Swiss mountain in summer and winter were placed back-to-back and
hung on the wall with hinges. The viewer can turn the photograph over
as desired, like ‘a leaf in a book’, as she puts it.

Other works

 

Fake lake, 2000

Fake lake, 2000
photographs, perspex, aluminium
60 x 24 cm (2 parts)
edition 10

Note / ‘Snowy’ and ‘snowless’ was the point of departure for the first
works in a series. For this Van Warmerdam asked a photographer to
take pictures in the winter and to do so again six months later in exactly
the same spots. To make the series she asked herself to what extent a
dual image of mountains with and without snow can be turned, twisted
and toppled. In Fake lake she takes her first step by placing a snowless
mountain upside-down on top of a mountain with snow, thereby creating
the suggestion of a lake with a distant horizon.

Other works

 

Catch, 1999

Catch, 1999
colour photograph, perspex, aluminium
120 x 163 cm
edition 5 + AP

Catch, 1999
study – colour photograph, perspex, aluminium
20,6 x 31 cm

Note / Van Warmerdam returned from a visit to a photo bank in Amsterdam with a photograph of a misty wooded landscape. To this she added a ball, to accompany the moon that shines dimly through the trees, and two child’s hands in the foreground, ready to catch the ball – or the moon.

Other works

 

There you are, 1999

There you are, 1999
colour photograph, perspex, aluminium
180 x 270 cm
edition 5 + 1 AP

There you are, 1999
study – colour photograph, perspex, aluminium
21 x 31 cm

Note / Van Warmerdam drove past Lake Neuchâtel in search of a suitable mountainside at which Michel Ritter could shout the names of the Swiss artists for the film loop Echo. From the car she saw a group of swans bobbing in the middle of the expanse of water and cried out to her travelling companion ‘Wow, couldn’t I make a work out of that?’

 

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.’

 

Other works

 

Bibberend glas melk (Vibrating glass of milk), 1991

Bibberend glas melk (Vibrating glass of milk), 1991
black and white photo, aluminum, plexiglass
100,5 x 102 cm
edition 3

Bibberend glas melk (Vibrating glass of milk), 1991
study – black and white photo, aluminum, plexiglass
14 x 14 cm

Note / The artist had seen vibrations on the surface of a glass of milk she was drinking in the train. Later she recreated these vibrations in a glass of milk and called it simply ‘Vibrating glass of milk’.