– 2015 – installations developed during residency at Club SOLO, Breda
1. Moneyworks: A wall-mounted installation consisting of 76 five cent coins interconnected so as to allow electricity to flow from one end to the other. The red neon tube above is powered through this circuit.
The focus of this installation revolves around the presence, role and use of money in everyday life. Through finding a direct utility other than the intended one, the goal is to suspend its embedded signified role. Leaving it uncovered also challenges the tactile dimension of the now-electrified coins. What kinds of other roles then can money play outside of its self-serving purpose?
2. Vending vote: A white wooden box with two slits cut into the top of it. “Yes” and “No” are written next to each opening while an adhesive tag with a question is placed above it that reads: “Do you feel that financial gains have become too important in contemporary arts? *Only 1 and 2 Euro coins accepted”.
This installation functions as an exercise in self-criticality and awareness. It aims to do this through purposely challenging the viewer to reconsider his position and also that of the work in relation to what the status quo of arts is. How can the finance-centric driving character of the contemporary art landscape be made more visible? What kind of change can this yield?
3. The hole truth: Two layers of clear plastic sheet with two handwritten messages placed behind a wall. Four holes drilled into the wall allow viewing of the two offset texts. The installation is only marked by a small black rectangle on the wall.
As the two texts read “The people from the institution told me I should put more critique inside the institution” and “If you look hard enough for institutional critique you’re bound to find it” the intention is to play on the expectation of art to be critical and the role artists have taken up. How can you bypass the paradoxical predicament of trying to be critical of the very system that embraces said criticism?
4. The color of money: A clear plastic film printed and wrapped around a neon tube. The colored pixels are the result of downsampling a collage of banknotes from around the world.
“Too see the color of one’s money” is an idiom meaning to verify beforehand that someone has enough money for whatever costs they have to subsequently cover. This installations takes the saying literally and combines the hallmark colors of Euros, Pounds, Yens, Dollars, Lei, Rubles, Yuans and Rupees to see what color they project on a white wall. The blending of the projected shades comes into play with the instant recognition of the printed colors in order to challenge their established identities. What gives currencies a particular value regime especially when compared to one another?