Reflection. Roosmarijn ten Hoopen. Painting, object
Organizers: Tourist Information Centre of the Republic of Karelia supported by the Ministry of Culture of the Republic of Karelia
September 5 – 22, 2017
Place: Vyhod Media Centre, Petrozavodsk, Karl Marx av., 14
Opening hours: 12.00 — 19.00, Tuesday-Saturday
Roosmarijn Annabel ten Hoopen (b. 1987, Netherlands) graduated from the Faculty of Fine Arts at the Gerrit Rietweld Academie in Amsterdam, studied at the Graphic Lyceum in Utrecht and one semester at the National Academy of the Arts in Oslo. The artist spends long periods of time in the residencies: 5 months in Oslo in 2011, 2015-2016 in Georgia.
Three months of staying at the Karelian art-residency the Dutch artist dedicated to exploring the city of Petrozavodsk: in long walking and cycling tours, in search of interesting buildings, old and new architecture, talking with the inhabitants of the city of different age and life experience, and reading literature about the history of Petrozavodsk and Karelia. What role do peoples’ houses, their exterior and interior play in the lives of their dwellers? How do people living here feel themselves, and changing of times?
Solo exhibition of Roosmarijn ten Hoopen at the Vyhod Media Centre displays paintings and objects.
Personal exhibition of Roosmarijn ten Hoopen from the Netherlands is held at the Vyhod Media Centre in September. The artist is a new guest of Karelian art-residency, where she has been working on pieces of her “Russian series” already a couple of months. The artist usually spends long periods of time working in international residencies - from 5-6 months to one year. That evidently shows her aspiration to immerse herself fundamentally in various cultural contexts, avoiding a shallow, touristic view on the world. The exhibition title - Reflection - clearly represents this: consciousness, self-cognition, self-evaluation, addressing and reflection. So what do we see in Roosmarijn’s paintings?
The Dutch painter is being true to herself in Russia, too: her main visual theme is abandoned houses and territories of the city. It seems that Russia is a perfect place for such an artistic creed. Processes of birth, creation, decay and collapse can be literally read off from the the metaphorical visual space of our motherland. Roosmarijn admits that she is intrigued by tense interaction between nature and architecture that she observes here. During lifetime different constructions and buildings appear, their function and purpose change. The Dutch artist states that that she found inspiration from the environment of the city of Petrozavodsk.
Passionately cogitating, immersing into obscure processes of Russian reality (almost following Dostoevsky), she tries to gain insight of the features of another Russian and European history turning point, as in body alive. She listens to the echoes of soviet monster’s great collapse, and the end of paradise idyllic Europe, - likely a prologue to contemporary history of the world.
House is a very intimate place, having its own soul, where continuation of daily life becomes a mystery. This mystery is bound with human, - the artists says, explaining her interest on the phenomenon of a house, a home, a family nest, - motherland. And here she probably starts a dialogue with Dostoevsky, who wrote to his brother: “A human is enigma. It has to be solved, and if you will be solving it all life through, don’t say that you’ve lost your time”. Roosmarijn peers into such mysteries, because she wants to become a good artist.
The artist that was born in Central Europe four years before the collapse of Soviet Union, could hardly imagine all layer of visual archaeology of the Evil Empire until coming to Russia. Stuck into the remains of Soviet propaganda and relics of visual agitation turned as a discovery for her, a local exotic, almost with a spirit of Sumer cuneiform scripts. She gets inspired by abandoned houses, derelict places and the objects she founds there. For example - stretchers made of Soviet banners and flags. Upon artist’s will, the found objects become surface for her paintings. Here the interesting thing is that using the palimpsest technology, artistic layers, the author preserves “archaeological” layers, putting her own painting cues of what she has seen. Thus, in one piece, useless material once thrown away fits to living houses’ facades depicted. Visually combining the images of facades and interiors, the artist breaks the barrier between external look and inner content. Thus, she invites a spectator to feel the space deeper - literally and metaphorically.
Roosmarijn’s creative method, very passionate and empirical, reminds some artistic “metabolism” - artistic implementation of creative process alive, exchange of substances, information, matters, and energy with environment and brings us closer to understanding of new reality, changing and transforming today and now.
Sergey Terentyev, artist
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