Sculpture and installation

 

e, 2012

e, 2012
offset on carton, plastic
approx. 8 x 16 x 23 cm

Note / MvW: ‘For Museo Serralves in Porto I made this mini basket with “and” cards in Portuguese. As well as being my next exhibition location after Rotterdam, this is also another work in itself and so it always remains a case of and, and, and…’

Sculpture and installation

 

i, 2011

i, 2011
offset on carton, plastic
approx. 12 x 36 x 25 cm

Note / MvW: ‘For Museo Serralves in Porto I made this mini basket with ‘and’ cards. As well as being my next exhibition location after Rotterdam, this is also another work in itself and so it always remains a case of and, and, and…’

Sculpture and installation

 

Tip of the iceberg, 2000

Tip of the iceberg, 2000
wood, lacker, plastic, ice
pedestal: 23 x 92 cm
iceberg: approx. 100 x 50 x 25 cm

Note / Tip of the iceberg is a reaction to the film Weather forecast. MvW: ‘When Weather forecast was completely finished as a film loop I thought, damn, the lump of ice is also a sculpture!’

Sculpture and installation

 

Plenty, 1998

Plenty, 1998
offset on carton, plastic
approx. 24 x 60 x 39 cm

Note / Plenty stems from the video Another planet, in which the words ‘the end’ are repeated endlessly. The recurring text image ‘the end’ left Van Warmerdam with a strong feeling of ‘and’, ‘and’, ‘and’. In Plenty the word ‘and’ is printed in different languages on cards, which the artist placed in a plastic basket. The cards with the words ‘and, og, und, en, et’ were sent as invitations for her exhibition ‘Og, og’ in Galleri Riis in Oslo.

Sculpture and installation

 

Untitled (Room 1405), 1994

Untitled (Room 1405), 1994
installation in bed: plastic, pigments, fabric
approx. 40 x 210 x 130 cm

Note / In 1994, for the first time ever an art fair was held in a hotel. Each stallholder had the use of one room in which to stay the night and another in which to exhibit. Van Warmerdam was invited by Galerie van Gelder to show a work in room 1405 of the Hilton Hotel. She made a lifelike replica of the gallery owner, who lies asleep in his hotel room while visitors might also bump into him in person.

Sculpture and installation

 

Untitled, 1993

Untitled, 1993
computerised doll, fabric, plastic, adapter, charge cable
187 x Ø 95 cm

Note / In 1993 Curator Moritz Küng in collaboration with colleague friends Armand Mevis, Linda van Deursen and Van Warmerdam staged the exhibition ‘Uitnodiging!’ in AP, a project space of Galerie van Gelder. Van Warmerdam’s contribution was a computer-controlled doll, the idea being that it was the exhibition’s first visitor.

Sculpture and installation

 

Let's face it, 1991

Let’s face it, 1991
plastic, fabric, paper
11 x 8 x 8 cm

Note / In Let’s face it Van Warmerdam sought to reconcile the professions of graphic designer and sculptor in one small sculpture. The designer’s thought process has much in common with that of the sculptor, but also many differences. She gave this work as a present to her then partner and graphic designer with the words ‘Let’s face it.’

Sculpture and installation

 

Bene, 1989

Bene, 1989
metal, rubber, plastic
Ø 192 x 8 cm

Note / Van Warmerdam thought a hoop with two running legs inside it seemed like a good idea to initiate movement. By actually giving the wheel a push, it is possible to make the legs run even better. The word ‘bene’, ‘well’ in Italian, is a phonetic play on words with the Dutch ‘benen’ (legs).

Other works

 

Traces 10, 2010

Traces 10, 2010
screen print on plastic mirror, dibond
200 x 266 cm

Note / For the series Traces the artist selected stills from worn-out copies of the film Skytypers (1997) and printed them onto mirrors. The traces of wear and tear on the stills and the vapour trails of the aircraft in the sky form two dimensions. A third dimension is added when the viewer sees his or her reflection in the work.

Other works

 

Traces 9, 2010

Traces 9, 2010
screen print on plastic mirror, dibond
200 x 266 cm

Note / For the series Traces the artist selected stills from worn-out copies of the film Skytypers (1997) and printed them onto mirrors. The traces of wear and tear on the stills and the vapour trails of the aircraft in the sky form two dimensions. A third dimension is added when the viewer sees his or her reflection in the work.

Other works

 

Traces 8, 2010
screen print on plastic mirror, dibond
200 x 266 cm

Note / For the series Traces the artist selected stills from worn-out copies of the film Skytypers (1997) and printed them onto mirrors. The traces of wear and tear on the stills and the vapour trails of the aircraft in the sky form two dimensions. A third dimension is added when the viewer sees his or her reflection in the work.

Other works

 

Traces 7, 2010

Traces 7, 2010
screen print on plastic mirror, dibond
200 x 266 cm

Note / For the series Traces the artist selected stills from worn-out copies of the film Skytypers (1997) and printed them onto mirrors. The traces of wear and tear on the stills and the vapour trails of the aircraft in the sky form two dimensions. A third dimension is added when the viewer sees his or her reflection in the work.

Other works

 

Traces 6, 2010

Traces 6, 2010
screen print on plastic mirror, dibond
200 x 266 cm

Note / For the series Traces the artist selected stills from worn-out copies of the film Skytypers (1997) and printed them onto mirrors. The traces of wear and tear on the stills and the vapour trails of the aircraft in the sky form two dimensions. A third dimension is added when the viewer sees his or her reflection in the work.

Other works

 

Traces 5, 2010
screen print on plastic mirror, dibond
200 x 266 cm

Note / For the series Traces the artist selected stills from worn-out copies of the film Skytypers (1997) and printed them onto mirrors. The traces of wear and tear on the stills and the vapour trails of the aircraft in the sky form two dimensions. A third dimension is added when the viewer sees his or her reflection in the work.

Other works

 

Traces 4, 2010

Traces 4, 2010
screen print on plastic mirror, dibond
200 x 266 cm

Note / For the series Traces the artist selected stills from worn-out copies of the film Skytypers (1997) and printed them onto mirrors. The traces of wear and tear on the stills and the vapour trails of the aircraft in the sky form two dimensions. A third dimension is added when the viewer sees his or her reflection in the work.

Other works

 

Traces 3, 2010

Traces 3, 2010
screen print on plastic mirror, dibond
200 x 266 cm

Note / For the series Traces the artist selected stills from worn-out copies of the film Skytypers (1997) and printed them onto mirrors. The traces of wear and tear on the stills and the vapour trails of the aircraft in the sky form two dimensions. A third dimension is added when the viewer sees his or her reflection in the work.

Other works

 

Traces 2, 2010
screen print on plastic mirror, dibond
200 x 266 cm

Note / For the series Traces the artist selected stills from worn-out copies of the film Skytypers (1997) and printed them onto mirrors. The traces of wear and tear on the stills and the vapour trails of the aircraft in the sky form two dimensions. A third dimension is added when the viewer sees his or her reflection in the work.

Other works

 

Traces 1, 2010

Traces 1, 2010
screen print on plastic mirror, dibond
200 x 266 cm

Note / For the series Traces the artist selected stills from worn-out copies of the film Skytypers (1997) and printed them onto mirrors. The traces of wear and tear on the stills and the vapour trails of the aircraft in the sky form two dimensions. A third dimension is added when the viewer sees his or her reflection in the work.

Other works

 

Tree 3, 2008

Tree 3, 2008
screen print on plastic mirror, dibond
149,5 x 99 cm

Note / Tree is a series of photos showing images of a tree reflected in
water, but the way these works are experienced, is a step removed from
reality. This is because the photos are literally upturned. The tree appears
to be standing upright because the photo is shown upside down;
it fully complies with the codes of a tree, but with an uneasy sense of
non-reality.

Other works

 

Tree 2, 2008

Tree 2, 2008
149,5 x 99 cm
screen print on plastic mirror, dibond
edition 5

Note / Tree is a series of photos showing images of a tree reflected in
water, but the way these works are experienced, is a step removed from
reality. This is because the photos are literally upturned. The tree appears
to be standing upright because the photo is shown upside down;
it fully complies with the codes of a tree, but with an uneasy sense of
non-reality.

Other works

 

Tree 1, 2008

Tree 1, 2008
screen print on plastic mirror, dibond
149,5 x 99 cm
edition 5

Note / Tree is a series of photos showing images of a tree reflected in water, but the way these works are experienced, is a step removed from reality. This is because the photos are literally upturned. The tree appears to be standing upright because the photo is shown upside down; it fully complies with the codes of a tree, but with an uneasy sense of non-reality.

Other works

 

Duck, 2008

Duck, 2008
screen print on plastic mirror, dibond
66 x 100 cm
edition 5 + 1 AP

Note / The swans on the dike are the first things that catch the eye in this photo. With the title, however, Van Warmerdam focuses on a different aspect – the duck sitting in the grass, barely visible, in the middle of the photo.

Other works

 

This bank, that bank, 2006

This bank, that bank, 2006
screen print on plastic mirror, dibond
2 parts, 66 x 100 cm each
edition 5 + 1 AP

Note / Here the artist stands by a canal in the countryside and shows the left and right banks in the mirror she’s holding. Both reflections are in her words ‘a slice of reality’, like a captured ‘here’ and ‘there’.

Other works

 

Pedestal, 2006

Pedestal, 2006
screen print on plastic mirror, dibond
66 x 100 cm
edition 5 + 1 AP

Note / After making this work Van Warmerdam realized that she had inadvertently made an extra ephemeral response to Piero Manzoni’s Socle du Monde. With the white sky in the mirror and her hands supporting it, she could only give this work the title ‘Pedestal’.

Other works

 

Grip, 2006

Grip, 2006
screen print on plastic mirror, dibond
66 x 100 cm
edition 5 + 1 AP

Note / The fingers holding the mirror act as a visual breaking point between the reflection of the adjacent landscape and the landscape immediately in front of the camera.