Annegien van Doorn

I’m very excited my work will be part of the exhibition “Fabulous Failures” at the famous Photography Festival in Arles this summer.
The exhibition is curated by Erik Kessels:

“Nowadays most art, design and photography portrays perfection. Contemporary popular culture is drowning under a tidal wave of superficiality and over-perfection. Posed, polished and controlled. As if it were a reflection of our endless search for clarity and calmness and an antidote for the chaos in our lives. Digital techniques has created an abundance of images. We shoot and shoot until we get it right. The imperfect pictures get deleted and the good ones get a filter or a touchup. In our perfection-obsessed culture we shy away from errors and that is, in my humble opinion, a disaster. Luckily failing is something artists and photographers more and more take as a subject for their work. This exhibition shows a large overview of the best fabulous failures found in contemporary art, design and photography, made by a group of artists that like to fight perfection, embrace serendipity and search for fabulous failures.”

More information about the show you can find here.

“The structures of the walls, the wallpaper, the wood and the pavement stumble perfectly over one another. The image has the power of a snapshot, but simultaneously of a very balanced image, because of its perfect composition. It is an image about time, and about preserving a past and how difficult that can be. The wallpaper has been pasted with the best intentions, yet because of usage of the door it starts to peel off. Thanks to this evolution, a new unregistered reality originates, which is more layered than the ‘original’ image of the door. The spontaneous stacking of layers invites reflection about past, future, and everything in between: this new reality lets us dream. It appears that this situation is temporary and that the ‘original’ door will just be hung back. Perhaps a valuable fringe will be smoothed over, but it is a matter of time before the unpredictable takes over again.”

FOAM Spotlight

Get your free copy at Les Rencontres de la Photographie in Arles.
More information soon!

And I participated again..  ordinary-magazine.com

A part of my new project “Costa Mediterranea” is already published in Belgium newspaper De Standaard.

Annegien van Doorn heeft een feilloos oog voor het alledaagse en is vervolgens in staat om dit ‘gewone’ te transformeren tot het ‘ongewone’… Read the entire text by Erik Kessels here (dutch)

The exhibition is on show from 16th of April until the 29th of May and we’ll be present during the opening at Saturday 16th of April [15h30].
More info here.

www.ordinary-magazine.com

Nice article about the exhibition by Lauren Moya Ford: http://www.vigoexpo.com/blog/panorama-ciudad-at-gallery-adhoc

“But what happens when the artist broaches the space between herself and the scenery she depicts? Annegien van Doorn’s works document spontaneous, handmade tableaux that she assembles from everyday objects like towels, ropes, sponges, and tubes of mayonnaise. Arrangements from In Passing (2015) are strung together precariously and playfully at home and in the streets. Annegien co opts the world of commercial products and packages; her constructions turn glossy, anonymous readymades into something fresh, fun, and subversive. The artist revels in the modern phenomena that have us sitting on the exact same IKEA chair or squeezing the same brand of mustard from one continent to another. Her work is a record of of spontaneous action taken against that context of sameness in the form of touching, squishing, and stacking. There is at times a thin line between photographs that document Annegien’s interventions with daily objects and those of strangers. This is another curious layer of In Passing: distinguishing between constructions created by the artist for her purposes versus those created by lay folk for their own, separate purposes raises questions about material, function, and value- just what makes something art? But Annegien’s hand is open to all objects; perhaps the artist wishes to make no separation at all!”