#: locale=nl
## Action
### URL
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## Hotspot
### Text
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### Tooltip
HotspotPanoramaOverlayArea_C4108C11_C61D_9564_41E5_8F6FD5E0A2E0.toolTip = EXPANSION (AI)
HotspotPanoramaOverlayArea_4753F3D8_6FC4_B9EE_41CE_BB08CAD404CD.toolTip = Ersatz City (2021)
HotspotPanoramaOverlayArea_21EB6AA5_37BB_3B30_41C5_B2FE61B55F5A.toolTip = Ex Memoria - 2015
HotspotPanoramaOverlayArea_21D68C91_37B9_5F10_41BC_A8E9E28B8087.toolTip = Heads of War
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HotspotPanoramaOverlayArea_21D3B14C_37A7_2970_4198_323A720D143D.toolTip = Nature Morte
HotspotPanoramaOverlayArea_6841346D_7059_243C_41D2_0DF85D3FE4E0.toolTip = Nightscan (2018)
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## Media
### 360 Video
### Image
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### Popup Image
### Subtitle
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### Video Subtitles
## Popup
### Body
htmlText_20D78DEF_37A7_3930_41C3_E9A4D6930A06.html = 2011
A series of painterly photographic impressions of single and multiple bodies, inspired by the dynamics in Francis Bacon's imagery.
110x190cm
Nature Morte: Still Lifes with Organs, a Jar, and Urine
2015
This series presents a series of organs, graciously decaying in a container filled with urine. The series is a direct interpretation of the still life tradition, in which symbols for death and passing time are abundantly present. Here too, these themes are overtly present, albeit in a blunter way.
The “organs” are not specified in the titles, as they have lost their main function, and no longer serve the purpose they were created for. Their decaying process is even sped up by them being soaked in urine. This may or may not be interpreted as laughing in the face of Death, out of fear or not, but never intended to ignore the transient nature of being.
The combination of these decaying organs becomes abstract and painterly. Their subject is also a reflection on the Vanitas-still lifes so often seen in the still life tradition. Unlike the typical skull, we only see the organs here, breaking down rapidly and falling apart into unrecognisable shapes and pieces. They are dissolved into nothingness, turning them into more ideal examples of the ephemeral nature of life.
Dimensions: 80x80 cm on archival pigment paper
Shattered Land
2014-2018
During the 1930s, photographers from the Farm Security Administration and the Office of War Information employed photographers to have them document every aspect of American life.
This series reflects on the work performed by these photographers. In essence, this series continues the work of the FSA/OWI , although now, it is an interpretation for the 21st century, and here, stasis is as abundant as ever. The images are darker, the subjects more or less the same.
Salvation, almost a century later, still nowhere to be found. The reference numbers used in this project use the same method of categorization as the original photographs did. The codes, however, are subjectively decided, as a means to add a coded message to the image, a reflection of the current state of affairs.
2018
Who gave us the sponge to wipe away the entire horizon? (Nietzsche)
In his series Horror Vacui (Fear of the Void), Tim van den Oudenhoven shows isolated nocturnal landscapes in a sea of black. This fear of the void, often described as a coping mechanism, is reflected by the use of intense black, a space that can no longer be filled. Black acts as the colour of negation, a destructive force that covers all or, as in Goethe’s colour theory, the result of destruction. Like a black hole, everything gets sucked into it: How long will it take before the last light is extinguished and we are left with nothing but pitch black?
In contrast to traditional landscape photography, the details, the horizon and virtually every other element that could serve as a point of reference are completely absent in van den Oudenhoven's work. A satisfactory orientation can only be achieved by employing the viewer’s own expectations about the landscape. The small islands that are shown in the images attract the onlooker's attention and create an aesthetic, yet uncanny viewing experience.
Invisible Motions
2014
I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix, angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night, who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of cold-water flats floating across the tops of cities contemplating jazz HOWL – Allen Ginsberg
Invisible Motions is a series about estrangement in an anonymized urban environment. Unspecified or not, an uncanny sensation of familiarity remains. In fact, this is the embodiment of the “Not-Being-at-Home” Heidegger treats in his description of the Uncanny. We wander along, alone in a seemingly desolate, threatening city. The images, in print, are never bigger than postcards (9x12 cm), which forces spectators to come closer to be able to discern the details. Taking a distance is rendered impossible; from the distance you only notice the white lights that shine above the deserted alleyways as if they were UFO-lights looking for any sign of life.
Invisible Motions
2014
I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix, angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night, who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of cold-water flats floating across the tops of cities contemplating jazz HOWL – Allen Ginsberg
Invisible Motions is a series about estrangement in an anonymized urban environment. Unspecified or not, an uncanny sensation of familiarity remains. In fact, this is the embodiment of the “Not-Being-at-Home” Heidegger treats in his description of the Uncanny. We wander along, alone in a seemingly desolate, threatening city. The images, in print, are never bigger than postcards (9x12 cm), which forces spectators to come closer to be able to discern the details. Taking a distance is rendered impossible; from the distance you only notice the white lights that shine above the deserted alleyways as if they were UFO-lights looking for any sign of life.
Corpus Delicti
2010-2013
110x190 cm
Corpus Delicti
2010-2013
110x190 cm
Transparence
2013-16
Series of large scale portraits, vanishing identities.
90x112,50 cm, printed on tracing paper.
Transparence
2013-16
Series of large scale portraits, vanishing identities.
90x112,50 cm, printed on tracing paper.
Nature Morte: Still Lifes with Organs, a Jar, and Urine
2015
This series presents a series of organs, graciously decaying in a container filled with urine. The series is a direct interpretation of the still life tradition, in which symbols for death and passing time are abundantly present. Here too, these themes are overtly present, albeit in a blunter way.
The “organs” are not specified in the titles, as they have lost their main function, and no longer serve the purpose they were created for. Their decaying process is even sped up by them being soaked in urine. This may or may not be interpreted as laughing in the face of Death, out of fear or not, but never intended to ignore the transient nature of being.
The combination of these decaying organs becomes abstract and painterly. Their subject is also a reflection on the Vanitas-still lifes so often seen in the still life tradition. Unlike the typical skull, we only see the organs here, breaking down rapidly and falling apart into unrecognisable shapes and pieces. They are dissolved into nothingness, turning them into more ideal examples of the ephemeral nature of life.
Dimensions: 80x80 cm on archival pigment paper
Nature Morte: Still Lifes with Organs, a Jar, and Urine
2015
This series presents a series of organs, graciously decaying in a container filled with urine. The series is a direct interpretation of the still life tradition, in which symbols for death and passing time are abundantly present. Here too, these themes are overtly present, albeit in a blunter way.
The “organs” are not specified in the titles, as they have lost their main function, and no longer serve the purpose they were created for. Their decaying process is even sped up by them being soaked in urine. This may or may not be interpreted as laughing in the face of Death, out of fear or not, but never intended to ignore the transient nature of being.
The combination of these decaying organs becomes abstract and painterly. Their subject is also a reflection on the Vanitas-still lifes so often seen in the still life tradition. Unlike the typical skull, we only see the organs here, breaking down rapidly and falling apart into unrecognisable shapes and pieces. They are dissolved into nothingness, turning them into more ideal examples of the ephemeral nature of life.
Dimensions: 80x80 cm on archival pigment paper
Троєщина - Troieshchyna
2018
without a flicker's thought
we erase the world around us
every neighbour whose face we can't describe
the soft push towards the abyss of oblivion
"No, I do not know anybody that lived on the fourth floor..."
The double lock clicks twice.
Троєщина - Troieshchyna
2018
without a flicker's thought
we erase the world around us
every neighbour whose face we can't describe
the soft push towards the abyss of oblivion
"No, I do not know anybody that lived on the fourth floor..."
The double lock clicks twice.
Blocked Views
2013-2019
Images of urban repetition
Blocked Views
2013-2019
Images of urban repetition
Surveillancescapes
2019
Interpretation of the landscape, focusing on the negation of most of the physical properties of the landscape, leaving out specific locations, searching for images where most of the information needs to be supplied by spectators themselves.
Any experience of the image needs to come from one’s own expectations of the landscape. One is free to imagine, based on one’s own frame of reference, where the images are taken, what lies hidden behind the white pixels of the webcam image.
In Surveillancescapes, the voyeurism experience is a heads-on one: the screenshots clearly reveal to the viewers that they are actively engaging in surveillance and, as is the case in 99.9% of the times with surveillance, nothing seems to happen, yet they are still mesmerised and keen on perhaps seeing some movement. The images do not move, but maybe if one looks close enough, one can see some movement, some event passing by, or at least think that that is the case.
In the light box version, the software is written to flicker when the motion sensors are triggered, acting like a screen responding to movement, making the viewer also realise he/she is being observed. The responses are programmed and in an ideal world connected via the internet to other sensors (e.g. in my studio or by collectors).
In the full exhibition, all light boxes are connected through a network, so all motion sensors affect how other light boxes respond. Some sensors’ sensitivity are also tweaked, so some respond to even the smallest vibrations caused by a car driving by (making one wonder what caused the trigger) and other sensors only responding with clear action in a limited range.
Surveillancescapes
2019
Interpretation of the landscape, focusing on the negation of most of the physical properties of the landscape, leaving out specific locations, searching for images where most of the information needs to be supplied by spectators themselves.
Any experience of the image needs to come from one’s own expectations of the landscape. One is free to imagine, based on one’s own frame of reference, where the images are taken, what lies hidden behind the white pixels of the webcam image.
In Surveillancescapes, the voyeurism experience is a heads-on one: the screenshots clearly reveal to the viewers that they are actively engaging in surveillance and, as is the case in 99.9% of the times with surveillance, nothing seems to happen, yet they are still mesmerised and keen on perhaps seeing some movement. The images do not move, but maybe if one looks close enough, one can see some movement, some event passing by, or at least think that that is the case.
In the light box version, the software is written to flicker when the motion sensors are triggered, acting like a screen responding to movement, making the viewer also realise he/she is being observed. The responses are programmed and in an ideal world connected via the internet to other sensors (e.g. in my studio or by collectors).
In the full exhibition, all light boxes are connected through a network, so all motion sensors affect how other light boxes respond. Some sensors’ sensitivity are also tweaked, so some respond to even the smallest vibrations caused by a car driving by (making one wonder what caused the trigger) and other sensors only responding with clear action in a limited range.
EX MEMORIA
2014-15
Ex Memoria is a series on memory, or rather, the vanishing of memory. Rather than just working with found footage, this series uses discarded negatives that are subsequently burnt, destroyed, developed and reproduced on a monumental scale, creating a never before seen reproduction of a long lost memory.
The central part of the process is destruction, which is active on several levels. First of all, there is the physical act of throwing these negatives away: the very reason why these photographs were ever taken, to capture a growing up child, becomes redundant. As adults, we often rely on photographs to tell our story for us. Here, however, the story has become insignificant and the children anonymous. The original memory, the photographic negative, has become meaningless and has thus been erased. Secondly, there is destruction on the prints’ darkness. They almost vanish in a black sea of oblivion. It is the moment before everything turns to black entirely. Uneasily, one could think of Hugo’s Les Misérables: “When the eye sees black, the heart sees trouble. In an eclipse in the night, in the sooty opacity, there is anxiety even for the stoutest of hearts.” This dissolution into nothingness puts our own raison d’être into perspective or, on a more narrow metaphotographic level, the reason why we take certain pictures. Thirdly, the series is presented in printed on the very temporary medium of newsprint paper. Newspapers are intended to be almost immediately discarded and recycled, the use of which highlighting the fleeting nature of this process of memory destruction. The medium is fading along with the subjects and memories themselves.
Dimensions 10x15 cm, and 100x150
EX MEMORIA
2014-15
Ex Memoria is a series on memory, or rather, the vanishing of memory. Rather than just working with found footage, this series uses discarded negatives that are subsequently burnt, destroyed, developed and reproduced on a monumental scale, creating a never before seen reproduction of a long lost memory.
The central part of the process is destruction, which is active on several levels. First of all, there is the physical act of throwing these negatives away: the very reason why these photographs were ever taken, to capture a growing up child, becomes redundant. As adults, we often rely on photographs to tell our story for us. Here, however, the story has become insignificant and the children anonymous. The original memory, the photographic negative, has become meaningless and has thus been erased. Secondly, there is destruction on the prints’ darkness. They almost vanish in a black sea of oblivion. It is the moment before everything turns to black entirely. Uneasily, one could think of Hugo’s Les Misérables: “When the eye sees black, the heart sees trouble. In an eclipse in the night, in the sooty opacity, there is anxiety even for the stoutest of hearts.” This dissolution into nothingness puts our own raison d’être into perspective or, on a more narrow metaphotographic level, the reason why we take certain pictures. Thirdly, the series is presented in printed on the very temporary medium of newsprint paper. Newspapers are intended to be almost immediately discarded and recycled, the use of which highlighting the fleeting nature of this process of memory destruction. The medium is fading along with the subjects and memories themselves.
Dimensions 10x15 cm, and 100x150
Il sole dietro la montagna
The visualisation of an inner journey: there is no better way to summarise Tim van den Oudenhoven's photographic creative process. In early works, his photographic experiments stemmed from an the urge to decypher his deeper self. Now, this inner journey has become the guiding theme through all his works. The quest for a photographic identity was replaced by the desire to retain his personal photographic integrity.
Supported by a strong knowledge of the history of literature, art and cinema, Tim's visual imagery continuously attempts to explore the limits of the medium.
Basso Ioco
Tim’s quest for a personal photographic identity begins with a complete tabula rasa of the medium. In the first phase, the destroyed body is of primary importance: both the photographic subject as well as the photographic matter are negated. Tim shows literal destruction for what it is employing a voyeuristic, multimedial viewing pattern. Driven by inner unrest, the borders between emotional conflicts, bodily reactions, and the photographic medium are explored, both literally as well as figuratively. By evoking strong emotions such as pain, fear, and even pity, a purification of these emotions is achieved. Tim looks for the foundations of his imagery as part of an experimental catharsis.
This entire search results in an entirely personal and unique approach of the photographic medium. Indications of time and place are entirely redundant and irrelevant. Visual disorientation is prioritised. Constrictively presented, the subject is shown locked within itself. Tim's threatening, distorted visual language most of all wants to transcend the viewer's visual viewing patterns.
I sol tace
As part of his further evolution, Tim's work emphasises more the underlying psychological motifs than the visual physical action. The artist's stimulating, inner unrest never disappears, but appears to have found a certain psychological mercy and decorum. Having found his personal visual imagery, Tim takes his viewers along on an inner journey expressed through concretised personal impressions.
A disorienting impression of the horizon. A threatening Spiel of darkening and illuminating, revealing and hiding. The visual language further expands onto a spherical, more spacious level, where urban and natural landscape impressions are mixed to reveal an overwhelming symbolism. Without revealing any concrete information, a number of highlighted points of recognition seemingly lead towards a misleading determination of time and space. The viewer now has two options: either he is completely overwhelmed by the images and he loses himself in looking for answers that are not there, or he gets over it, takes satisfaction with the impressions and follows along into Tim's universe. As such, the lack of transparency and the threatening aspects of the images showcase a fragile and intimate insight into the artist's stream of consciousness.
Vetrate dell’anima
In his most recent creative phase, Tim seems to return to a focus on the organic. Even less than before, the body is now literally turned inside out and inspected. Using his estranging visual language, a distinct anatomical mysticism is captured. The specific use of close-ups, playing with light and colour, the specific staging and way of presentation exemplify the painterly aspects of Tim's work. Aside from the ever-present estranging, provocative and threatening aspects, there is also a presence of something calming, untouchable and almost sacred. They act as photographic stained glass windows that continuously reveal new elements.
A penchant for dissection becomes the subconscious theme in Tim's continuously innovative work. His inner journey is forever ongoing.
Every image is Tim. Every landscape is Tim. Every portrait is Tim.
They are the key to access, dissect and evaluate Tim's multifacetted persona.
Text written by: Erik Van Den Storm
Il sole dietro la montagna
The visualisation of an inner journey: there is no better way to summarise Tim van den Oudenhoven's photographic creative process. In early works, his photographic experiments stemmed from an the urge to decypher his deeper self. Now, this inner journey has become the guiding theme through all his works. The quest for a photographic identity was replaced by the desire to retain his personal photographic integrity.
Supported by a strong knowledge of the history of literature, art and cinema, Tim's visual imagery continuously attempts to explore the limits of the medium.
Basso Ioco
Tim’s quest for a personal photographic identity begins with a complete tabula rasa of the medium. In the first phase, the destroyed body is of primary importance: both the photographic subject as well as the photographic matter are negated. Tim shows literal destruction for what it is employing a voyeuristic, multimedial viewing pattern. Driven by inner unrest, the borders between emotional conflicts, bodily reactions, and the photographic medium are explored, both literally as well as figuratively. By evoking strong emotions such as pain, fear, and even pity, a purification of these emotions is achieved. Tim looks for the foundations of his imagery as part of an experimental catharsis.
This entire search results in an entirely personal and unique approach of the photographic medium. Indications of time and place are entirely redundant and irrelevant. Visual disorientation is prioritised. Constrictively presented, the subject is shown locked within itself. Tim's threatening, distorted visual language most of all wants to transcend the viewer's visual viewing patterns.
I sol tace
As part of his further evolution, Tim's work emphasises more the underlying psychological motifs than the visual physical action. The artist's stimulating, inner unrest never disappears, but appears to have found a certain psychological mercy and decorum. Having found his personal visual imagery, Tim takes his viewers along on an inner journey expressed through concretised personal impressions.
A disorienting impression of the horizon. A threatening Spiel of darkening and illuminating, revealing and hiding. The visual language further expands onto a spherical, more spacious level, where urban and natural landscape impressions are mixed to reveal an overwhelming symbolism. Without revealing any concrete information, a number of highlighted points of recognition seemingly lead towards a misleading determination of time and space. The viewer now has two options: either he is completely overwhelmed by the images and he loses himself in looking for answers that are not there, or he gets over it, takes satisfaction with the impressions and follows along into Tim's universe. As such, the lack of transparency and the threatening aspects of the images showcase a fragile and intimate insight into the artist's stream of consciousness.
Vetrate dell’anima
In his most recent creative phase, Tim seems to return to a focus on the organic. Even less than before, the body is now literally turned inside out and inspected. Using his estranging visual language, a distinct anatomical mysticism is captured. The specific use of close-ups, playing with light and colour, the specific staging and way of presentation exemplify the painterly aspects of Tim's work. Aside from the ever-present estranging, provocative and threatening aspects, there is also a presence of something calming, untouchable and almost sacred. They act as photographic stained glass windows that continuously reveal new elements.
A penchant for dissection becomes the subconscious theme in Tim's continuously innovative work. His inner journey is forever ongoing.
Every image is Tim. Every landscape is Tim. Every portrait is Tim.
They are the key to access, dissect and evaluate Tim's multifacetted persona.
Text written by: Erik Van Den Storm
disparitions
2011
"disparitions" presents a series of anynomous, universal constructions made from concrete. They can be found in an unspecified urban setting where they are surrounded by an abundance of intense blacks. They have been printed on newsprint paper, a light and fragile surface that helps to highlight their practically forgotten presence. As cathedrals of Modernity, they have been planted in an everyday environment that at the same time can come across as distant and uncanny. Viewers are invited to be engulfed in a world where the loss of any sense of direction is of pivotal importance. The horizon disappears behind the infinite black of night or that of concrete. No human presence can be found here : what remains are the architectural scars of these buildings before we watch them disappear into oblivion.
100x150cm
Printed on newsprint paper
disparitions
2011
"disparitions" presents a series of anynomous, universal constructions made from concrete. They can be found in an unspecified urban setting where they are surrounded by an abundance of intense blacks. They have been printed on newsprint paper, a light and fragile surface that helps to highlight their practically forgotten presence. As cathedrals of Modernity, they have been planted in an everyday environment that at the same time can come across as distant and uncanny. Viewers are invited to be engulfed in a world where the loss of any sense of direction is of pivotal importance. The horizon disappears behind the infinite black of night or that of concrete. No human presence can be found here : what remains are the architectural scars of these buildings before we watch them disappear into oblivion.
100x150cm
Printed on newsprint paper
HEADS OF WAR
Sculptures based on images of returning WWI soldiers from the front.
Mixed media - concrete, styrofoam, paint, latex, resin
HEADS OF WAR
Sculptures based on images of returning WWI soldiers from the front.
Mixed media - concrete, styrofoam, paint, latex, resin
Nightscan
2019
Discoveries in the pitch black of night.
In NIGHTSCANS, the pitch black of light is scanned to reveal what the naked eye cannot see.
In this series, the Night is scanned and it moves from landscapes to bodies to imagined bodies to abstract views. Reality is presented in a warped, distorted way. The subjects are clear, but presented in inanimate, unreal ways.
The laser lines echo motion trigger sensors, as if any movement could set off an alarm.
Rather than working with the concept of vanishing, the object here is to identify a dark space, to methodically and/or frantically explore the dark to show what it can reveal.
We find lost and transformed bodies, chaotic landscapes, an abstract amalgam of hidden desires.
Dimensions: 150x225 cm. Printed on PVC banners.
Nightscan
2019
Discoveries in the pitch black of night.
In NIGHTSCANS, the pitch black of light is scanned to reveal what the naked eye cannot see.
In this series, the Night is scanned and it moves from landscapes to bodies to imagined bodies to abstract views. Reality is presented in a warped, distorted way. The subjects are clear, but presented in inanimate, unreal ways.
The laser lines echo motion trigger sensors, as if any movement could set off an alarm.
Rather than working with the concept of vanishing, the object here is to identify a dark space, to methodically and/or frantically explore the dark to show what it can reveal.
We find lost and transformed bodies, chaotic landscapes, an abstract amalgam of hidden desires.
Dimensions: 150x225 cm. Printed on PVC banners.
Non-Horizons
2017
"And men go to admire the high mountains, the vast floods of the sea, the huge streams of the river, the circumference of the ocean, and the revolutions of the stars – and desert themselves."
- Petrarca.
Non-Horizons
2017
"And men go to admire the high mountains, the vast floods of the sea, the huge streams of the river, the circumference of the ocean, and the revolutions of the stars – and desert themselves."
- Petrarca.
2016
Who gave us the sponge to wipe away the entire horizon? (Nietzsche)
In his series Horror Vacui (Fear of the Void), Tim van den Oudenhoven shows isolated nocturnal landscapes in a sea of black. This fear of the void, often described as a coping mechanism, is reflected by the use of intense black, a space that can no longer be filled. Black acts as the colour of negation, a destructive force that covers all or, as in Goethe’s colour theory, the result of destruction. Like a black hole, everything gets sucked into it: How long will it take before the last light is extinguished and we are left with nothing but pitch black?
In contrast to traditional landscape photography, the details, the horizon and virtually every other element that could serve as a point of reference are completely absent in van den Oudenhoven's work. A satisfactory orientation can only be achieved by employing the viewer’s own expectations about the landscape. The small islands that are shown in the images attract the onlooker's attention and create an aesthetic, yet uncanny viewing experience.
2016
Who gave us the sponge to wipe away the entire horizon? (Nietzsche)
In his series Horror Vacui (Fear of the Void), Tim van den Oudenhoven shows isolated nocturnal landscapes in a sea of black. This fear of the void, often described as a coping mechanism, is reflected by the use of intense black, a space that can no longer be filled. Black acts as the colour of negation, a destructive force that covers all or, as in Goethe’s colour theory, the result of destruction. Like a black hole, everything gets sucked into it: How long will it take before the last light is extinguished and we are left with nothing but pitch black?
In contrast to traditional landscape photography, the details, the horizon and virtually every other element that could serve as a point of reference are completely absent in van den Oudenhoven's work. A satisfactory orientation can only be achieved by employing the viewer’s own expectations about the landscape. The small islands that are shown in the images attract the onlooker's attention and create an aesthetic, yet uncanny viewing experience.
Invisible Motions
2014
I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix, angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night, who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of cold-water flats floating across the tops of cities contemplating jazz
HOWL – Allen Ginsberg
Invisible Motions is a series about estrangement in an anonymized urban environment. Unspecified or not, an uncanny sensation of familiarity remains. In fact, this is the embodiment of the “Not-Being-at-Home” Heidegger treats in his description of the Uncanny. We wander along, alone in a seemingly desolate, threatening city. The images, in print, are never bigger than postcards (9x12 cm), which forces spectators to come closer to be able to discern the details. Taking a distance is rendered impossible; from the distance you only notice the white lights that shine above the deserted alleyways as if they were UFO-lights looking for any sign of life.
Coordinates
2015-2018
Abstract landscapes, provided with exact geocoordinates of where they were taken.
Dimensions: 110x165 cm. Printed on canvas. Edition of 1+1.
Coordinates
2015-2018
Abstract landscapes, provided with exact geocoordinates of where they were taken.
Dimensions: 110x165 cm. Printed on canvas. Edition of 1+1.
HAVET
2019
Duration: infinite loop
Inspired by the poem Havet by Göran Palm.
Havet
Jag står framför havet.
Där är det.
Där är havet.
Jag tittar på det.
Havet. Jaha.
Det är som på Louvren.
Surveillancescapes
2019
Interpretation of the landscape, focusing on the negation of most of the physical properties of the landscape, leaving out specific locations, searching for images where most of the information needs to be supplied by spectators themselves.
Any experience of the image needs to come from one’s own expectations of the landscape. One is free to imagine, based on one’s own frame of reference, where the images are taken, what lies hidden behind the white pixels of the webcam image.
In Surveillancescapes, the voyeurism experience is a heads-on one: the screenshots clearly reveal to the viewers that they are actively engaging in surveillance and, as is the case in 99.9% of the times with surveillance, nothing seems to happen, yet they are still mesmerised and keen on perhaps seeing some movement. The images do not move, but maybe if one looks close enough, one can see some movement, some event passing by, or at least think that that is the case.
In the light box version, the software is written to flicker when the motion sensors are triggered, acting like a screen responding to movement, making the viewer also realise he/she is being observed. The responses are programmed and in an ideal world connected via the internet to other sensors (e.g. in my studio or by collectors).
In the full exhibition, all light boxes are connected through a network, so all motion sensors affect how other light boxes respond. Some sensors’ sensitivity are also tweaked, so some respond to even the smallest vibrations caused by a car driving by (making one wonder what caused the trigger) and other sensors only responding with clear action in a limited range.
Corpus Delicti
2011
110x190 cm
EX MEMORIA
2014-15
Ex Memoria is a series on memory, or rather, the vanishing of memory. Rather than just working with found footage, this series uses discarded negatives that are subsequently burnt, destroyed, developed and reproduced on a monumental scale, creating a never before seen reproduction of a long lost memory.
The central part of the process is destruction, which is active on several levels. First of all, there is the physical act of throwing these negatives away: the very reason why these photographs were ever taken, to capture a growing up child, becomes redundant. As adults, we often rely on photographs to tell our story for us. Here, however, the story has become insignificant and the children anonymous. The original memory, the photographic negative, has become meaningless and has thus been erased. Secondly, there is destruction on the prints’ darkness. They almost vanish in a black sea of oblivion. It is the moment before everything turns to black entirely. Uneasily, one could think of Hugo’s Les Misérables: “When the eye sees black, the heart sees trouble. In an eclipse in the night, in the sooty opacity, there is anxiety even for the stoutest of hearts.” This dissolution into nothingness puts our own raison d’être into perspective or, on a more narrow metaphotographic level, the reason why we take certain pictures. Thirdly, the series is presented in printed on the very temporary medium of newsprint paper. Newspapers are intended to be almost immediately discarded and recycled, the use of which highlighting the fleeting nature of this process of memory destruction. The medium is fading along with the subjects and memories themselves.
Dimensions 10x15 cm, and 100x150
Invisible Motions
2014
I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix, angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night, who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of cold-water flats floating across the tops of cities contemplating jazz HOWL – Allen Ginsberg
Invisible Motions is a series about estrangement in an anonymized urban environment. Unspecified or not, an uncanny sensation of familiarity remains. In fact, this is the embodiment of the “Not-Being-at-Home” Heidegger treats in his description of the Uncanny. We wander along, alone in a seemingly desolate, threatening city. The images, in print, are never bigger than postcards (9x12 cm), which forces spectators to come closer to be able to discern the details. Taking a distance is rendered impossible; from the distance you only notice the white lights that shine above the deserted alleyways as if they were UFO-lights looking for any sign of life.
Transparence
2013-16
Series of large scale portraits, vanishing identities.
90x112,50 cm, printed on tracing paper.
disparitions
2011
"disparitions" presents a series of anynomous, universal constructions made from concrete. They can be found in an unspecified urban setting where they are surrounded by an abundance of intense blacks. They have been printed on newsprint paper, a light and fragile surface that helps to highlight their practically forgotten presence. As cathedrals of Modernity, they have been planted in an everyday environment that at the same time can come across as distant and uncanny. Viewers are invited to be engulfed in a world where the loss of any sense of direction is of pivotal importance. The horizon disappears behind the infinite black of night or that of concrete. No human presence can be found here : what remains are the architectural scars of these buildings before we watch them disappear into oblivion.
100x150cm
Printed on newsprint paper
Троєщина - Troieshchyna
2018
without a flicker's thought
we erase the world around us
every neighbour whose face we can't describe
the soft push towards the abyss of oblivion
"No, I do not know anybody that lived on the fourth floor..."
The double lock clicks twice.
Click on the images in view
or on the menu items
on the left to see details
Perpetuals
And throughout it all, we repeat ourselves, little by little, forgetting
the amber coloured glimmer of realisation
maybe an end that comes soon
but never now, never here,
because we haven't finished repeating ourselves - and the screams
fade, again and again.
Chris-Winston.com
Multimedia project consisting of a website, performance videos, a blog, and photographs
The creation of an alter ego and different interpretations with different media.
The website created for this project is embedded below.
EXPANSION (AI)
Series created using artificial intelligence that expands the original photograph with only the information that is in the original. The end result loses accuracy the more you move to the edges, though it is still believable and recognisable. The mirrors on the edges of the frame make this program run into infinity.
The titles themselves are coded references to the location, the serial number at this location, plus the amount of expansions used in the photograph, reflecting a digitised numbering system.
E.g. BCN.1.11 refers to Barcelona, Photo 1, 11 Layers
Sonorities
SONORITIES presents a series of image manipulations of 360 degree images. Through a process of deformation and mirroring, the resulting images are reduced to a black-and-white collection of branches converging on the horizon line (when viewed horizontally). The horizon, a recurring theme in Tim van den Oudenhoven’s work, serves a dual purpose. Its density allows for their interpretation as a sound wave - each image therefore has its own distinct soundtrack, which was back-converted using the raw image data. When viewing the work vertically, the horizon line is transformed into a central column and the branches in the images appear more like organic shapes, such as veins or a nervous system, which enhances the soundtrack’s effect when going up and down the image.
Click on the images in view
or on the menu items
on the left to see details
EXPANSION (AI)
Series created using artificial intelligence that expands the original photograph with only the information that is in the original. The end result loses accuracy the more you move to the edges, though it is still believable and recognisable. The mirrors on the edges of the frame make this program run into infinity.
The titles themselves are coded references to the location, the serial number at this location, plus the amount of expansions used in the photograph, reflecting a digitised numbering system.
E.g. BCN.1.11 refers to Barcelona, Photo 1, 11 Layers
Perpetuals
And throughout it all, we repeat ourselves, little by little, forgetting
the amber coloured glimmer of realisation
maybe an end that comes soon
but never now, never here,
because we haven't finished repeating ourselves - and the screams
fade, again and again.
Chris-Winston.com
Multimedia project consisting of a website, performance videos, a blog, and photographs
The creation of an alter ego and different interpretations with different media.
The website created for this project is embedded below.
Sonorities
SONORITIES presents a series of image manipulations of 360 degree images. Through a process of deformation and mirroring, the resulting images are reduced to a black-and-white collection of branches converging on the horizon line (when viewed horizontally). The horizon, a recurring theme in Tim van den Oudenhoven’s work, serves a dual purpose. Its density allows for their interpretation as a sound wave - each image therefore has its own distinct soundtrack, which was back-converted using the raw image data. When viewing the work vertically, the horizon line is transformed into a central column and the branches in the images appear more like organic shapes, such as veins or a nervous system, which enhances the soundtrack’s effect when going up and down the image.
Mobile Surveillance System
“There was of course no way of knowing whether you were being watched at any given moment. How often, or on what system, the Thought Police plugged in on any individual wire was guesswork. It was even conceivable that they watched everybody all the time. But at any rate they could plug in your wire whenever they wanted to. You had to live – did live, from habit that became instinct – in the assumption that every sound you made was overheard, and except in darkness, every movement scrutinised.”
- 1984, George Orwell
NOCTURNE
"I saw the best minds of my generation destroyed by madness, starving hysterical naked,
dragging themselves through the negro streets at dawn looking for an angry fix,
angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the
machinery of night,"
- HOWL, Allen Ginsberg .
Who Cast the First Stone?
Performance piece using Chatroulette. Gallery visitors were invited to throw tomatoes to a tied-up body in the corner of the gallery, seeing a projection of live reactions from random visitors on Chatroulette. The online visitors did not have the context of the gallery performance, therefore their reactions are the most sincere reactions possible to a performance. The fragmented soundtrack reflects the uncomfortable wide range of reactions of gallery and online visitors.
Mobile Surveillance System
“There was of course no way of knowing whether you were being watched at any given moment. How often, or on what system, the Thought Police plugged in on any individual wire was guesswork. It was even conceivable that they watched everybody all the time. But at any rate they could plug in your wire whenever they wanted to. You had to live – did live, from habit that became instinct – in the assumption that every sound you made was overheard, and except in darkness, every movement scrutinised.”
- 1984, George Orwell
NOCTURNE
"I saw the best minds of my generation destroyed by madness, starving hysterical naked,
dragging themselves through the negro streets at dawn looking for an angry fix,
angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the
machinery of night,"
- HOWL, Allen Ginsberg .
Who Cast the First Stone?
Performance piece using Chatroulette. Gallery visitors were invited to throw tomatoes to a tied-up body in the corner of the gallery, seeing a projection of live reactions from random visitors on Chatroulette. The online visitors did not have the context of the gallery performance, therefore their reactions are the most sincere reactions possible to a performance. The fragmented soundtrack reflects the uncomfortable wide range of reactions of gallery and online visitors.
___
Artist Statement
"Part of its appeal lay all too clearly in the fact that this was
an environment built, not for man, but for man’ s absence."
[JG Ballard, High-Rise]
My works generally deal with themes of vanishing and transience – the Vanitas motive applied to art and the medium itself. Photography always serves as a starting point in my artistic process, but through experimentation, different media are always a possible endpoint. Abstraction tends to play an important role – an uncanny distance between Viewer and Work is a prerequisite.
While my work employs different media, and sometimes very different styles, my approach, methodology and inspirations are generally similar.
In my urban nightscapes, architectural spaces are explored that were designed to make man disappear into a repetitive anonymous blob in a generic city maze. The dark spaces border on a play between aestheticism and nihilism, and the often fragile printing materials might reveal which one might prevail in the end.
My more metaphotographic works also deal with concepts of disappearing. Objets trouvés, security camera footage, and other types of photographic experiments are all employed to point to the medium’s limitations of preserving a memory or a moment in time, and to highlight its complete incapability to represent reality.
Lastly, my multimedia works focus on repetition, a stream of consciousness intended to reflect my personal questioning of my art.
___
Artist Statement
"Part of its appeal lay all too clearly in the fact that this was
an environment built, not for man, but for man’ s absence."
[JG Ballard, High-Rise]
My works generally deal with themes of vanishing and transience – the Vanitas motive applied to art and the medium itself. Photography always serves as a starting point in my artistic process, but through experimentation, different media are always a possible endpoint. Abstraction tends to play an important role – an uncanny distance between Viewer and Work is a prerequisite.
While my work employs different media, and sometimes very different styles, my approach, methodology and inspirations are generally similar.
In my urban nightscapes, architectural spaces are explored that were designed to make man disappear into a repetitive anonymous blob in a generic city maze. The dark spaces border on a play between aestheticism and nihilism, and the often fragile printing materials might reveal which one might prevail in the end.
My more metaphotographic works also deal with concepts of disappearing. Objets trouvés, security camera footage, and other types of photographic experiments are all employed to point to the medium’s limitations of preserving a memory or a moment in time, and to highlight its complete incapability to represent reality.
Lastly, my multimedia works focus on repetition, a stream of consciousness intended to reflect my personal questioning of my art.
Portrait:
© Michael James O'Brien
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LOREM IPSUM
DOLOR SIT AMET
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LOREM IPSUM
DOLOR SIT AMET
JOHN DOE
Licensed Real Estate Salesperson
Tlf.: +11 111 111 111
jhondoe@realestate.com
www.loremipsum.com
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JOHN DOE
Licensed Real Estate Salesperson
Tlf.: +11 111 111 111
jhondoe@realestate.com
www.loremipsum.com
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New VR exhibition by ExtractArt
EXTRUSION takes you to an undisclosed set of rooms in a former Stasi (the GDR’s state police) building in the East of Berlin (Lichtenberg) that was constructed as shelter for its spy workers in the event of an attack by the West. Labelled as ventilation rooms, they offer a unique location for showing an exhibition that is off-limits to anyone. Even today, these spaces are inaccessible.
At the time, the whole area where the building was located, was greyed out on any map that was produced. The area did not officially exist. And neither does this exhibition. Any physical evidence of its existence has long since been eradicated.
This exhibition plays with this apocalyptic backdrop and gives us an excuse to seek shelter with a variety of impressive artworks. Traces of human forms are shown in body parts, organs, fabrics, and clothing, and combined with organic works embracing purified abstraction befitting our Present.
New VR exhibition by ExtractArt
EXTRUSION takes you to an undisclosed set of rooms in a former Stasi (the GDR’s state police) building in the East of Berlin (Lichtenberg) that was constructed as shelter for its spy workers in the event of an attack by the West. Labelled as ventilation rooms, they offer a unique location for showing an exhibition that is off-limits to anyone. Even today, these spaces are inaccessible.
At the time, the whole area where the building was located, was greyed out on any map that was produced. The area did not officially exist. And neither does this exhibition. Any physical evidence of its existence has long since been eradicated.
This exhibition plays with this apocalyptic backdrop and gives us an excuse to seek shelter with a variety of impressive artworks. Traces of human forms are shown in body parts, organs, fabrics, and clothing, and combined with organic works embracing purified abstraction befitting our Present.
Tim van den Oudenhoven
CV & Selected Exhibitions
info@timvandenoudenhoven.com / +49 178 1479478
°1983, Belgium. Lives and works in Berlin, Germany.
Education
2015-17: Master Class with Ingo Taubhorn & Ute Mahler, Ostkreuzschule für Fotografie, Berlin
2011: Master of Visual Arts (Photography), Royal Academy of Fine Arts, Ghent, Belgium
2005: Master of Linguistics and Literature: Germanic Languages (English & Swedish), Ghent University, Belgium
Prizes
2022 – Arte Laguna Prize - 16th Edition - Photography Selection
2017 – Neutral Density Photography Awards – Honorable Mention, Fine Art Landscape Photography
2017 – Arte Laguna Prize (Arsenale – Venice), Special Prize – Artist in Residence
2011 – Graduation Prize for Photography, Horlait-Dapsens Foundation
Solo exhibitions
2023 – La Vitrine, Charleroi Belgium
2022 – Discovery Art Fair, Frankfurt – ExtractArt
2021 – Boutwell/Schabrowsky Gallery, Munich – SAFE_LIGHT
2020 – Gallery DIA, Munich – Non-Horizons
2019 – Gallery DIA, Munich – DISAPPEARANCE
2019 – Carlsberg Byens Galleri & Kunstsalon – THE ERADICATED SKYLINE – Copenhagen Photo Festival
2018 – Gallery DIA, Munich – HORROR VACUI
2014 – Performance & Exhibition, X X X Berlin Store & Gallery, Berlin, Germany
2013 – CC De Stroming, Evergem, Belgium. Series: “Invisible Motions”
2013 – Installation and presentation at “Obscur” showroom, Paris
2012 – VZW Breedbeeld, event “VIER”, Ghent
2011 – KR Line Gallery, Antwerp. “disparitions”
Group exhibitions
2023 – Arte Laguna Prize, Winners' Exhibition (Arsenale, Venice)
2023 – ILLUSION/DELUSION – Forum Kunst Contemporary (Millstatt, Österreich)
2022 – Paris Contemporary Art Fair – vertreten durch MONAT Gallery Madrid
2022 – Fifty-Five, Lange Nacht der Bilder Lichtenberg (Curator]
2022 – ExtractArt – INTERSECT, Duo-Ausstellung mit Leon Emanuel Blanck (Berlin)
2022 – AKS Millstatt, Austria – HYBRID FORMATS
2021 – Boutwell/Schabrowsky Gallery, Munich – Year in Review
2021 – Discovery Art Fair Frankfurt – ExtractArt
2021 – EXTRUSION, ExtractArt – Virtual Exhibition
2020 – ESCAPING_PHOTOGRAPHY_, ExtractArt – Month of Photography OFF (Curator)
2020 – Gallery DIA, Munich – Retour A La Nature
2020 – UNSEEN, ExtractArt – Virtual Exhibition
2019 – SPEKTRUM, 12 Photographic Positions, Gallery DIA, Munich
2019 – Young Blood Collective, Berlin, “The Infinite Wheel of Time”
2019 – Museo Riso of Contemporary Art, Palermo – “Shifting Stances”
2018 – Museum Domäne Dahlem, Camera Urbana, curated by Dr. Lili Fürstenow
2018 – Breaking Myth - an exhibition of contemporary photography – Museo D'Aumale, Terrassini (Palermo Capital of Culture 2018), curated by Dr. Luca lo Sicco
2018 – Master class exhibition – Ostkreuzschule Für Fotografie (Ute Mahler & Ingo Taubhorn)
2017 – Gruppo Fallani Venezia – Screenprint production & exhibition, Arte Laguna Prize
2017 – ARTESANTANDER, Duo Exhibition with Katarzyna Szszycka “Empty Places” – COLLECTIVA Gallery Berlin
2016 – Month of Photography Berlin – "UNDRAWING THE HORIZON"
2016 – HB55 Art Factory – Group exhibition ArtFest 2016
2016 – In Vitro Musical Theatre Company – 10 Years Anniversary Exhibition, Ghent, Belgium
2016 – COLLECTIVA Gallery Berlin – Exhibition with painter Regina Nieke
2016 – Darklands, Berlin – Preview presentation of "Horror Vacui"
2015 – SIM Gallery, Reykjavik, Iceland – Artist Residency & Exhibition "Did You See Them?" supported by SIM, the Association of Icelandic Artists
2014 – VOID Gallery, Paris – Showroom exhibition in collaboration with designer Mads Dinesen.
2013 – Through the Looking Glass (contemporary analogue photography), Marquee Gallery, Berlin
2012 – Harlan-Levey Space, Brussels. “The Circle Game”
2011 – International Photo Festival, Knokke. “The Green Room”
2009 – NEU/NOW Festival, ELIA Art Schools, Vilnius, Lithuania
2009 – Outlandish Gallery for Photography, Brussels
SAFE_LIGHT
A conceptual catalogue of works is available from EXTRACTART. It features the full series of works along with a specific timestamps of the series.
ISBN 9783947756056
80 Pages
Standard edition: 20 EUR
Edition with print: 45 EUR
Company Name
www.loremipsum.com
info@loremipsum.com
Tlf.: +11 111 111 111
Impressum
Impressum
Angaben gemäß § 5 TMG
Tim van den Oudenhoven
Weserstraße 17
10247 Berlin
Vertreten durch:
Tim van den Oudenhoven
Kontakt:
Telefon: 0178-1479478
E-Mail: timvandenoudenhoven@gmail.com
Umsatzsteuer-ID: DE281637029
Umsatzsteuer-Identifikationsnummer gemäß §27a Umsatzsteuergesetz: DE281637029
Verantwortlich für den Inhalt nach § 55 Abs. 2 RStV:
Tim van den Oudenhoven
Weserstraße 17
10247 Berlin
Haftungsausschluss:
Haftung für Inhalte
Die Inhalte unserer Seiten wurden mit größter Sorgfalt erstellt. Für die Richtigkeit, Vollständigkeit und Aktualität der Inhalte können wir jedoch keine Gewähr übernehmen. Als Diensteanbieter sind wir gemäß § 7 Abs.1 TMG für eigene Inhalte auf diesen Seiten nach den allgemeinen Gesetzen verantwortlich. Nach §§ 8 bis 10 TMG sind wir als Diensteanbieter jedoch nicht verpflichtet, übermittelte oder gespeicherte fremde Informationen zu überwachen oder nach Umständen zu forschen, die auf eine rechtswidrige Tätigkeit hinweisen. Verpflichtungen zur Entfernung oder Sperrung der Nutzung von Informationen nach den allgemeinen Gesetzen bleiben hiervon unberührt. Eine diesbezügliche Haftung ist jedoch erst ab dem Zeitpunkt der Kenntnis einer konkreten Rechtsverletzung möglich. Bei Bekanntwerden von entsprechenden Rechtsverletzungen werden wir diese Inhalte umgehend entfernen.
Haftung für Links
Unser Angebot enthält Links zu externen Webseiten Dritter, auf deren Inhalte wir keinen Einfluss haben. Deshalb können wir für diese fremden Inhalte auch keine Gewähr übernehmen. Für die Inhalte der verlinkten Seiten ist stets der jeweilige Anbieter oder Betreiber der Seiten verantwortlich. Die verlinkten Seiten wurden zum Zeitpunkt der Verlinkung auf mögliche Rechtsverstöße überprüft. Rechtswidrige Inhalte waren zum Zeitpunkt der Verlinkung nicht erkennbar. Eine permanente inhaltliche Kontrolle der verlinkten Seiten ist jedoch ohne konkrete Anhaltspunkte einer Rechtsverletzung nicht zumutbar. Bei Bekanntwerden von Rechtsverletzungen werden wir derartige Links umgehend entfernen.
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Wir weisen darauf hin, dass die Datenübertragung im Internet (z.B. bei der Kommunikation per E-Mail) Sicherheitslücken aufweisen kann. Ein lückenloser Schutz der Daten vor dem Zugriff durch Dritte ist nicht möglich.
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Diese Website benutzt Google Analytics, einen Webanalysedienst der Google Inc. (''Google''). Google Analytics verwendet sog. ''Cookies'', Textdateien, die auf Ihrem Computer gespeichert werden und die eine Analyse der Benutzung der Website durch Sie ermöglicht. Die durch den Cookie erzeugten Informationen über Ihre Benutzung dieser Website (einschließlich Ihrer IP-Adresse) wird an einen Server von Google in den USA übertragen und dort gespeichert. Google wird diese Informationen benutzen, um Ihre Nutzung der Website auszuwerten, um Reports über die Websiteaktivitäten für die Websitebetreiber zusammenzustellen und um weitere mit der Websitenutzung und der Internetnutzung verbundene Dienstleistungen zu erbringen. Auch wird Google diese Informationen gegebenenfalls an Dritte übertragen, sofern dies gesetzlich vorgeschrieben oder soweit Dritte diese Daten im Auftrag von Google verarbeiten. Google wird in keinem Fall Ihre IP-Adresse mit anderen Daten der Google in Verbindung bringen. Sie können die Installation der Cookies durch eine entsprechende Einstellung Ihrer Browser Software verhindern; wir weisen Sie jedoch darauf hin, dass Sie in diesem Fall gegebenenfalls nicht sämtliche Funktionen dieser Website voll umfänglich nutzen können. Durch die Nutzung dieser Website erklären Sie sich mit der Bearbeitung der über Sie erhobenen Daten durch Google in der zuvor beschriebenen Art und Weise und zu dem zuvor benannten Zweck einverstanden.
Website Impressum erstellt durch impressum-generator.de von der Kanzlei Hasselbach
Tim van den Oudenhoven
CV & Selected Exhibitions
info@timvandenoudenhoven.com / +49 178 1479478
°1983, Belgium. Lives and works in Berlin, Germany.
Education
2015-17: Master Class with Ingo Taubhorn & Ute Mahler, Ostkreuzschule für Fotografie, Berlin
2011: Master of Visual Arts (Photography), Royal Academy of Fine Arts, Ghent, Belgium
2005: Master of Linguistics and Literature: Germanic Languages (English & Swedish), Ghent University, Belgium
Prizes
2022 – Arte Laguna Prize - 16th Edition - Photography Selection
2017 – Neutral Density Photography Awards – Honorable Mention, Fine Art Landscape Photography
2017 – Arte Laguna Prize (Arsenale – Venice), Special Prize – Artist in Residence
2011 – Graduation Prize for Photography, Horlait-Dapsens Foundation
Solo exhibitions
2023 – La Vitrine, Charleroi Belgium
2022 – Discovery Art Fair, Frankfurt – ExtractArt
2021 – Boutwell/Schabrowsky Gallery, Munich – SAFE_LIGHT
2020 – Gallery DIA, Munich – Non-Horizons
2019 – Gallery DIA, Munich – DISAPPEARANCE
2019 – Carlsberg Byens Galleri & Kunstsalon – THE ERADICATED SKYLINE – Copenhagen Photo Festival
2018 – Gallery DIA, Munich – HORROR VACUI
2014 – Performance & Exhibition, X X X Berlin Store & Gallery, Berlin, Germany
2013 – CC De Stroming, Evergem, Belgium. Series: “Invisible Motions”
2013 – Installation and presentation at “Obscur” showroom, Paris
2012 – VZW Breedbeeld, event “VIER”, Ghent
2011 – KR Line Gallery, Antwerp. “disparitions”
Group exhibitions
2023 – Arte Laguna Prize, Winners' Exhibition (Arsenale, Venice)
2023 – ILLUSION/DELUSION – Forum Kunst Contemporary (Millstatt, Österreich)
2022 – Paris Contemporary Art Fair – vertreten durch MONAT Gallery Madrid
2022 – Fifty-Five, Lange Nacht der Bilder Lichtenberg (Curator]
2022 – ExtractArt – INTERSECT, Duo-Ausstellung mit Leon Emanuel Blanck (Berlin)
2022 – AKS Millstatt, Austria – HYBRID FORMATS
2021 – Boutwell/Schabrowsky Gallery, Munich – Year in Review
2021 – Discovery Art Fair Frankfurt – ExtractArt
2021 – EXTRUSION, ExtractArt – Virtual Exhibition
2020 – ESCAPING_PHOTOGRAPHY_, ExtractArt – Month of Photography OFF (Curator)
2020 – Gallery DIA, Munich – Retour A La Nature
2020 – UNSEEN, ExtractArt – Virtual Exhibition
2019 – SPEKTRUM, 12 Photographic Positions, Gallery DIA, Munich
2019 – Young Blood Collective, Berlin, “The Infinite Wheel of Time”
2019 – Museo Riso of Contemporary Art, Palermo – “Shifting Stances”
2018 – Museum Domäne Dahlem, Camera Urbana, curated by Dr. Lili Fürstenow
2018 – Breaking Myth - an exhibition of contemporary photography – Museo D'Aumale, Terrassini (Palermo Capital of Culture 2018), curated by Dr. Luca lo Sicco
2018 – Master class exhibition – Ostkreuzschule Für Fotografie (Ute Mahler & Ingo Taubhorn)
2017 – Gruppo Fallani Venezia – Screenprint production & exhibition, Arte Laguna Prize
2017 – ARTESANTANDER, Duo Exhibition with Katarzyna Szszycka “Empty Places” – COLLECTIVA Gallery Berlin
2016 – Month of Photography Berlin – "UNDRAWING THE HORIZON"
2016 – HB55 Art Factory – Group exhibition ArtFest 2016
2016 – In Vitro Musical Theatre Company – 10 Years Anniversary Exhibition, Ghent, Belgium
2016 – COLLECTIVA Gallery Berlin – Exhibition with painter Regina Nieke
2016 – Darklands, Berlin – Preview presentation of "Horror Vacui"
2015 – SIM Gallery, Reykjavik, Iceland – Artist Residency & Exhibition "Did You See Them?" supported by SIM, the Association of Icelandic Artists
2014 – VOID Gallery, Paris – Showroom exhibition in collaboration with designer Mads Dinesen.
2013 – Through the Looking Glass (contemporary analogue photography), Marquee Gallery, Berlin
2012 – Harlan-Levey Space, Brussels. “The Circle Game”
2011 – International Photo Festival, Knokke. “The Green Room”
2009 – NEU/NOW Festival, ELIA Art Schools, Vilnius, Lithuania
2009 – Outlandish Gallery for Photography, Brussels
SAFE_LIGHT
A conceptual catalogue of works is available from EXTRACTART. It features the full series of works along with a specific timestamps of the series.
ISBN 9783947756056
80 Pages
Standard edition: 20 EUR
Edition with print: 45 EUR
Company Name
www.loremipsum.com
info@loremipsum.com
Tlf.: +11 111 111 111
Impressum
Impressum
Angaben gemäß § 5 TMG
Tim van den Oudenhoven
Weserstraße 17
10247 Berlin
Vertreten durch:
Tim van den Oudenhoven
Kontakt:
Telefon: 0178-1479478
E-Mail: timvandenoudenhoven@gmail.com
Umsatzsteuer-ID: DE281637029
Umsatzsteuer-Identifikationsnummer gemäß §27a Umsatzsteuergesetz: DE281637029
Verantwortlich für den Inhalt nach § 55 Abs. 2 RStV:
Tim van den Oudenhoven
Weserstraße 17
10247 Berlin
Haftungsausschluss:
Haftung für Inhalte
Die Inhalte unserer Seiten wurden mit größter Sorgfalt erstellt. Für die Richtigkeit, Vollständigkeit und Aktualität der Inhalte können wir jedoch keine Gewähr übernehmen. Als Diensteanbieter sind wir gemäß § 7 Abs.1 TMG für eigene Inhalte auf diesen Seiten nach den allgemeinen Gesetzen verantwortlich. Nach §§ 8 bis 10 TMG sind wir als Diensteanbieter jedoch nicht verpflichtet, übermittelte oder gespeicherte fremde Informationen zu überwachen oder nach Umständen zu forschen, die auf eine rechtswidrige Tätigkeit hinweisen. Verpflichtungen zur Entfernung oder Sperrung der Nutzung von Informationen nach den allgemeinen Gesetzen bleiben hiervon unberührt. Eine diesbezügliche Haftung ist jedoch erst ab dem Zeitpunkt der Kenntnis einer konkreten Rechtsverletzung möglich. Bei Bekanntwerden von entsprechenden Rechtsverletzungen werden wir diese Inhalte umgehend entfernen.
Haftung für Links
Unser Angebot enthält Links zu externen Webseiten Dritter, auf deren Inhalte wir keinen Einfluss haben. Deshalb können wir für diese fremden Inhalte auch keine Gewähr übernehmen. Für die Inhalte der verlinkten Seiten ist stets der jeweilige Anbieter oder Betreiber der Seiten verantwortlich. Die verlinkten Seiten wurden zum Zeitpunkt der Verlinkung auf mögliche Rechtsverstöße überprüft. Rechtswidrige Inhalte waren zum Zeitpunkt der Verlinkung nicht erkennbar. Eine permanente inhaltliche Kontrolle der verlinkten Seiten ist jedoch ohne konkrete Anhaltspunkte einer Rechtsverletzung nicht zumutbar. Bei Bekanntwerden von Rechtsverletzungen werden wir derartige Links umgehend entfernen.
Urheberrecht
Die durch die Seitenbetreiber erstellten Inhalte und Werke auf diesen Seiten unterliegen dem deutschen Urheberrecht. Die Vervielfältigung, Bearbeitung, Verbreitung und jede Art der Verwertung außerhalb der Grenzen des Urheberrechtes bedürfen der schriftlichen Zustimmung des jeweiligen Autors bzw. Erstellers. Downloads und Kopien dieser Seite sind nur für den privaten, nicht kommerziellen Gebrauch gestattet. Soweit die Inhalte auf dieser Seite nicht vom Betreiber erstellt wurden, werden die Urheberrechte Dritter beachtet. Insbesondere werden Inhalte Dritter als solche gekennzeichnet. Sollten Sie trotzdem auf eine Urheberrechtsverletzung aufmerksam werden, bitten wir um einen entsprechenden Hinweis. Bei Bekanntwerden von Rechtsverletzungen werden wir derartige Inhalte umgehend entfernen.
Datenschutz
Die Nutzung unserer Webseite ist in der Regel ohne Angabe personenbezogener Daten möglich. Soweit auf unseren Seiten personenbezogene Daten (beispielsweise Name, Anschrift oder eMail-Adressen) erhoben werden, erfolgt dies, soweit möglich, stets auf freiwilliger Basis. Diese Daten werden ohne Ihre ausdrückliche Zustimmung nicht an Dritte weitergegeben.
Wir weisen darauf hin, dass die Datenübertragung im Internet (z.B. bei der Kommunikation per E-Mail) Sicherheitslücken aufweisen kann. Ein lückenloser Schutz der Daten vor dem Zugriff durch Dritte ist nicht möglich.
Der Nutzung von im Rahmen der Impressumspflicht veröffentlichten Kontaktdaten durch Dritte zur Übersendung von nicht ausdrücklich angeforderter Werbung und Informationsmaterialien wird hiermit ausdrücklich widersprochen. Die Betreiber der Seiten behalten sich ausdrücklich rechtliche Schritte im Falle der unverlangten Zusendung von Werbeinformationen, etwa durch Spam-Mails, vor.
Google Analytics
Diese Website benutzt Google Analytics, einen Webanalysedienst der Google Inc. (''Google''). Google Analytics verwendet sog. ''Cookies'', Textdateien, die auf Ihrem Computer gespeichert werden und die eine Analyse der Benutzung der Website durch Sie ermöglicht. Die durch den Cookie erzeugten Informationen über Ihre Benutzung dieser Website (einschließlich Ihrer IP-Adresse) wird an einen Server von Google in den USA übertragen und dort gespeichert. Google wird diese Informationen benutzen, um Ihre Nutzung der Website auszuwerten, um Reports über die Websiteaktivitäten für die Websitebetreiber zusammenzustellen und um weitere mit der Websitenutzung und der Internetnutzung verbundene Dienstleistungen zu erbringen. Auch wird Google diese Informationen gegebenenfalls an Dritte übertragen, sofern dies gesetzlich vorgeschrieben oder soweit Dritte diese Daten im Auftrag von Google verarbeiten. Google wird in keinem Fall Ihre IP-Adresse mit anderen Daten der Google in Verbindung bringen. Sie können die Installation der Cookies durch eine entsprechende Einstellung Ihrer Browser Software verhindern; wir weisen Sie jedoch darauf hin, dass Sie in diesem Fall gegebenenfalls nicht sämtliche Funktionen dieser Website voll umfänglich nutzen können. Durch die Nutzung dieser Website erklären Sie sich mit der Bearbeitung der über Sie erhobenen Daten durch Google in der zuvor beschriebenen Art und Weise und zu dem zuvor benannten Zweck einverstanden.
Website Impressum erstellt durch impressum-generator.de von der Kanzlei Hasselbach