Apprentice Master exhibition #6
The First Page of a Non-existing Story29 April 2021 – 23 May 2021
Joris Suk (MAISON the FAUX) (master)
The first page of a non-existing story may only be the beginning of what can be called a big comprehensive story; however the notion is strongly added that an eminent prelude shapes the foundation where the larger construction can rest on and thus creates the conditions for the solidity of the whole. The invitees are expected to disregard all assumptions about what an ‘exhibition’ should comprise, before wanting to explore the ontouched paths. Playfully we, Manon Jeuken, Hans-Hannah, Noah Arends, Emmie Liebregts and Joris Suk, wonder and amaze ourselves and each other during four exciting days; so that the following result can be beheld by a scrupulously selected audience. The gentlefolk that are deemed so fortunate to count themselves to this exquisite company will only be permitted to visit when they possess a proof of admission which they will have received via post: it may be self-evident that one is deemed to appear dressed and acting accordingly.
In the sixth exposition of the Apprentice Master season 2020/2021 Apprentices Hans-Hannah, Noah Arends, Manon Jeuken and Emmie Liebregts will be exhibiting with Master Joris Suk from MAISON the FAUX. The exhibition is on show from Thursday 29 April until Sunday 23 May 2021 at TAC in Eindhoven.
ABOUT THE ARTISTS
The world could be seen as a humongous factory, a process of production, in which we are all de- pending on each other. Within this factory every body has its own function, desires, and outcomes. Through a clownish and schizophrenic approach, I focus on an experience with mixed feelings, a wellness-paradox :). These feelings are present in a weird combination of intimacy, discomfort, activism and irony.
I view my work as a temporary living system, an organism. An autonomous self-organizing system that interacts with its environment. With a complex and energetic flow that is connecting. Within this complexity it finds self-healing and repairing characteristics.
Through my work I question the functioning of hierarchical superstructures<3 Structures that are influencing the outcome of our expression and the way we relate to all that’s around us, human and non-human people, living or death matter. In which desire, a flow of energy, feels like a guilt but could be a healthy engine for the process of production and a cause of relationships. It can break with individuality. Moving towards a more multi-dimensional way of thinking, an ecological approach in which intimacy and desire is connecting instead of separating. My work functions as a host, an invitation to become a part of this multi-dimensional performative happening. The presence of a human body within the work carries an invisible flow of energy that is connecting all, creating a discomfort and questions labor, production, anti-production and individuality.
<3 Superstructures are control structures that almost feel like they are divine, an unreachable paradise, they stand above us.
Manon Jeuken creates scenes that raise the perception of being part of a bigger picture. What this bigger picture might be, remains currently unanswered. With the inspiration of an oasis, Manon plays with the concepts of reality and illusion. In the oasis, the mind can come to rest, roam in space, and play without the pressure of time.
Manon creates site-specific installations, in which sculptures and photography play a central role. By combining photos with sculptures, she wants to raise a sense of disorientation for the spectator, focused on what is and what was.
Through her creation, Manon hopes to free the spectator from the everyday burdens by summoning another world. She strives to enable a sense of freedom. Free from the past, free from the future and present in the here and now. Manon explores the experience of lightheartedness and timelessness.
The work of Noah Arends is a rendez-vous of fine arts with fashion (photography) and design.Sculptural works emerge from a process of abstraction in which form, texture and color of the source materials are given new context. This results in surprising autonomous works, playfully balancing between notions of the natural and the artificial, the two- and the three-dimensional, the quality of sight and touch.
Printed fashion magazine images are at the source of my artistic process. I search and select, then scan and digitally modify these images, then print them on textile. In this way I play with the ‘materiality’ of my work: what starts with a photograph of a fabric, printed on a glossy paper in a magazine, I bring back on textile and give form in sculptures and framed works. In this way, photographs undertake a journey through different materials.
Fashion photography is mostly commercial and is found everywhere around us. My work interacts with these images, extracting them from their commercial purpose and context, and amplifying their characteristic aesthetic elements. In the end, the attractiveness of the original material gains a new form in original, autonomous works.
The works of Emmie refer to the unstable and ever changing human condition. Anything this unstable could use a bit of support, but nothing seems as uncomfortable as admitting you need support, or even worse, asking for it. The objects seem to have embraced the discomfort and are longing for (re)action or care in their form, materiality and context. A great amount of trust takes place in the capacity of others to notice the needs of the work and to act on it. By giving an object or role within her practice to another she creates a frame of thought that in most cases gets triggered through a material reality. What are the rules of expectations and interactions? Can an object hold its intentions or question for care in itself?