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DE HALLEN HAARLEM

COURTESY HANS KEMNA GUMMBAH ONGELDIGE SEX

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VIJF PORTRETTEN UIT DE VIDEO COLLECTIE

NAN GOLDIN HEART BEAT

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15/3 — 8/6 2008


PAVILJOEN

COURTESY HANS KEMNA

LUUK WILMERING KABINET

VLEESHAL BOVEN/FIRST FLOOR

NAN GOLDIN HEART BEAT

GUMMBAH ONGELDIGE SEX

VLEESHAL BENEDEN/GROUND FLOOR

VIJF PORTRETTEN UIT DE VIDEO COLLECTIE

VERWEYHAL

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EEN KEUZE UIT ZIJN FOTOCOLLECTIE

COURTESY HANS KEMNA

WassinkLundgren, Collectie Kemna, 2007, kleurenfoto

Deze tentoonstelling toont een greep uit de collectie fotografie van Hans Kemna. Kemna, de grondlegger van de Nederlandse film- en theatercasting, begon in de jaren ’90 serieus met het verzamelen van fotografie waarin ‘de mens’ een belangrijke, centrale rol vervult: portretten vormen het leeuwendeel van de collectie. Naast werk van bekende Nederlandse fotografen, zoals Céline van Balen, Rineke Dijkstra en Hellen van Meene, verzamelt Kemna ook werk van internationale sterfotografen als Nan Goldin en Wolfgang Tillmans.

De collectie Kemna kent een aantal opvallende overeenkomTEKST/TEXT: DE HALLEN HAARLEM DE PUBLICATIE ‘HANS KEMNA VERTALING/TRANSLATION: CATALOGUE’ WERD MEDE sten met de lijn die De Hallen Haarlem de afgelopen jaren WILLEM KRAMER MOGELIJK GEMAAKT DOOR: heeft gevolgd: zowel in het tentoonstellingsprogramma als in DRUK/PRINT: LENOIRSCHURING VANDENENDE FOUNDATION het aankoopbeleid heeft het museum veel aandacht geschonONTWERP/DESIGN: FRANS HALS STICHTING AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA COBBENHAGEN EN HENDRIKSEN BLANK EN PARTNERS, HAARLEM ken aan hedendaagse fotografie. AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

DE HALLEN HAARLEM

PLATTEGROND/FLOORPLAN

DE HALLEN HAARLEM

VERWEYHAL


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Kemna is wereldwijd één van de belangrijkste verzamelaars van het werk van Wolfgang Tillmans, dat in deze tentoonstelling dan ook een prominente rol speelt. De Duitse fotograaf is zelf verantwoordelijk geweest voor de installatie van zijn werk, waarbij ogenschijnlijk uiteenlopende beelden (portretten, maar ook bijna snapshot-achtige, terloopse foto’s van onbestemde plekken, of bijna-abstracties) zijn gecombineerd tot één groot associatief netwerk van betekenissen.

This exhibition presents a selection from the photography collection of Hans Kemna. Kemna, the doyen of Dutch film and theatre casting, started seriously collecting photography in the 1990s. ‘Humanity’ is a key theme in this collection, with portraits forming the lion’s share of Kemna’s acquisitions. Besides works by well-known Dutch photographers like Céline van Balen, Rineke Dijkstra and Hellen van Meene, Kemna also collects the work of international stars like Nan Goldin and Wolfgang Tillmans.

De homo-erotische lading die aanwezig is in sommige van Tillmans’ foto’s komt terug in een ander deel van de collectie: onder andere in foto’s van Jack Pierson en David Armstrong. Andere thematische verkenningen omvatten kinder- en puberportretten (werk van onder anderen Han Singels, Koos Breukel, Cuny Janssen, Marco van Duyvendijk en Hellen van Meene) en de pop- en modecultuur (Inez van Lamsweerde, Albrecht Fuchs, Tillmans).

The Kemna collection has a number of remarkable parallels with the line set out in recent years by De Hallen Haarlem. Both in its exhibition programme and in its acquisitions, the museum has focused considerable attention on contem– porary photography. Kemna is one of the most important collectors worldwide of the work of Wolfgang Tillmans, which indeed has a prominent place in the current presentation. The German photo– grapher has personally developed an installation of his work in this exhibition, in which apparently disparate images (portraits, almost snapshot-like pictures of indeterminable locations and even near-abstract imagery) have been combined to form an associative network of meanings. The homo-erotic undertones of some of Tillmans’ photographs also resonate in other parts of the collection: among others in several pictures by Jack Pierson and David Armstrong. Other thematic explorations that can be discerned in this show are portraits of children and teenagers (work by Han Singels, Koos Breukel, Cuny Janssen, Marco van Duyvendijk and Hellen van Meene, among others) and pop culture and fashion (Inez van Lamsweerde, Albrecht Fuchs, Tillmans).

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Jan Schaper, Lijnbaanjeugd, 1957 (links op de foto Hans Kemna)

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Bij de tentoonstelling is een catalogus verschenen van de hand The exhibition is accompanied by a catalogue featuring the van het jonge Nederlandse fotografenduo WassinkLundgren, work of the young Dutch photographer team WassinkLundvormgegeven door Kummer & Herrman. De catalogus biedt gren, designed by Kummer & Herrman. The catalogue offers een intieme, bijna voyeuristische blik in Kemna’s huiskamer in an intimate, almost voyeuristic look into Kemna’s living room Amsterdam, waar de verzamelaar zich dagelijks omringd weet in Amsterdam. AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAA door de voor hem dierbare personages die de foto’s bevolken.

15/3 – 8/6 2008

COURTESY HANS KEMNA

DE HALLEN HAARLEM

VERWEYHAL


GUMMBAH ONGELDIGE SEX

Het hebben van een vagina is vooral praktisch en juist daarom zo vrouwelijk Hij begint s’morgens heel vroeg met tekenen, om van de urge af te zijn. ‘Want als ik ergens verslaafd aan ben, dan is het wel aan tekenen. En als ik dan toch aan tafel zit om te tekenen kan ik er net zo goed iets bij schrijven in de kantlijn. Tijdens dat tekenen raak ik dan in een soort zen-boeddhistische toestand, waardoor de sluizen van mijn bewustzijn, of wat daar nog van over is, naar mijn onderbewustzijn als het ware wijd open staan en allerhande invallen de vrije loop krijgen. Ik schrijf nooit op gevoel, niet vanuit woede of frustratie. Ik doe daar niet krankzinnig veel moeite voor. Het is gewoon spelen met taal en humor. Veel uit het raam staren, niets doen en ondertussen een beetje de amateur-taalvirtuoos uithangen.’

Ontzettende lezer(es),

Gummbah (pseudoniem van Gertjan van Leeuwen, 1967 Nieuwaal), woont en werkt in Tilburg. Het pseudoniem is ontleend aan het Anglo-Italiaanse slang voor Gabber. Gummbah heeft zich via publicaties in diverse dag- en weekbladen, waaronder de Volkskrant, Nieuwe Revu en Humo, een plek verworven in het collectieve geheugen van sommige Nederlanders en Belgen met een ware lawine aan wansmakelijke tekeningen, waarbij gitzwarte humor, banaliteit, absurdisme en gesublimeerde flauwheid zowel vertrek- als aankomstpunt zijn. Ach ja. Andrew niet doen Voor Gummbah is een schoonheidsideaal veel te beperkt: ‘Op lelijkheid kun je oneindig variëren’. Uiterlijk mogen de mensen in zijn werk dan gelijk zijn, tussen man en vrouw is er in zijn cartoons sprake van een betonnen rolverdeling. Gummbah’s vrouwen zijn veelal bazige dragonders, uit de kluiten gewassen manwijven die hun echtgenoten domineren. De humor ligt wat hem betreft op straat, is eigenlijk overal te vinden waar het treurige fenomeen mens zich ophoudt. Toch keert een aantal thema’s met ijzeren regelmaat terug. Seks is er een van, de dood een ander. Maar ook de gezondheidszorg en de gehandicapte medemens. Taboes bestaan er voor hem niet, ook pedofilie, aids, kinkhoest, de holocaust en het geloof komen in zijn werk aan bod. Maar hoe erger het onderwerp, zegt hij, hoe beter de grap moet zijn.

Nou, doei! Joery Karnak (pr-koning der Hallen) Stupendous reader,

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Gummbah (an alias of Gertjan van Leeuwen, born in Nieuwaal, 1967), lives and works in Tilburg and takes his nom de plume from the Italian-American slang for ‘mate’. His publications in various dailies and magazines – including De Volkskrant, Nieuwe Revu and Humo – have made Gummbah a fixture in the collective psyche of certain segments of the Dutch and Belgian population. His work offers a veritable avalanche of drawings in truly bad taste, in which pitch-black humour, banality, absurdism and sublimated silliness form both the point of departure and the final destination. Oh well.

Andrew don’t do it Gummbah sees ideals of beauty as far too limiting: ‘Ugliness clears the way for endless variation.’ While in terms of aesthetics, the denizens of his cartoons have a level playing field, his work does show a cast-iron division of roles between the sexes. Gummbah’s women tend to be scolding battle-axes – towering viragos that unfailingly domineer their man-folk. According to Gummbah, we are surrounded by jokes. They can be found anywhere where that miserable piece of work – humanity – reAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA sides. Nevertheless, various themes recur asAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA regularly as clockwork.

15/3 – 8/6 2008

GUMMBAH

DE HALLEN HAARLEM

VLEESHAL BOVEN / FIRST FLOOR


Sex is one of them; death another. Other regulars include public health care and the physically and mentally challenged. There are no taboos in Gummbah’s universe – issues like paedophilia, AIDS, whooping cough, the Holocaust and religion are also regularly touched upon. But the worse the subject, the better the joke should be, according to the cartoonist.

More than anything else, owning a vagina is a practical thing – and that’s what makes it so feminine He gets up really early to start on his drawings – to release the urge. ‘Because if there’s one thing I’m addicted to, it’s drawing. And if I’m sitting at the table anyway to draw, I might as well write something in the margin. When I’m drawing, I enter a kind of Zen Buddhist state, during which you might say that the doors of my consciousness – or what’s left of it – are opened wide up to my subconscious, with all kinds of flashes of thought getting free rein. I never write anything based on emotion – I never feel anger or frustration when I’m working. I don’t make a massive effort or anything. It’s basically just playing around with languages and jokes. Stare out of the window a lot, loaf about and meanwhile play at being an amateur linguistic virtuoso.’ Well: bye! Joery Karnak (De Hallen’s PR Primo)

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15/3 – 8/6 2008

GUMMBAH

DE HALLEN HAARLEM

VLEESHAL BOVEN / FIRST FLOOR


VIJF PORTRETTEN UIT DE VIDEO COLLECTIE

werp van haar kunst gemaakt. Haar oeuvre is direct, persoonlijk en ondubbelzinnig, en levert vaak hartverscheurend commentaar op de eenzaamheid van het moderne individu. Ook Joost Conijns film Siddieqa, Firdaus, Abdallah, Soelayman, Moestafa, Hawwa, Dzoel-kifl heeft een documentaire opzet. Conijn portretteert hierin de zeven kinderen uit een autochtoon hippie-moslimgezin dat op een gekraakt haventerrein in Amsterdam-West woont. De totale vrijheid waarin de kinderen opgroeien is die uit een jongensboek, maar tegelijkertijd knaagt er de dreiging van maatschappelijke uitsluiting. Avontuurzucht en maatschappelijke autonomie zijn ook de drijfveren van de hoofdpersoon uit Andrew Reid, Pablo Pijnappels videowerk uit 2003. Hierin tracht de kunstenaar een afspraak te maken met zijn stiefvader, die belooft vanuit Rio naar Parijs te komen. Andrew Reid speelt met de grenzen tussen documentaire en fictie, en heeft individualisme en culturele ontheemding als centrale thema’s. Voor Julika Rudelius is het grensvlak tussen feit en fictie, documentaire en geregisseerd beeld, eveneens van cruciaal belang. In de video Train zien we een aantal jongens in een treincoupé zitten, ‘stiekem’ gefilmd. Ze praten over meisjes, en scheppen op over hun seksuele prestaties. De film kent sterk sociologische interesses: Rudelius onderzoekt het groepsgedrag van jongeren, en creëert een krachtig tijdsbeeld. De Interieurs die Arnoud Holleman en Pieter Kramer maakten (oorspronkelijk voor VPRO-televisie) kennen eenzelfde sociologische interesse. Holleman en Kramer hebben een aantal mensen gefilmd in hun interieur, en laten op even heldere als doeltreffende manier zien op welke manier de huiselijke omgeving bijdraagt aan de constructie van ‘identiteit’. AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

Julika Rudelius, Train, 2001, videostill

Vijf portretten is een presentatie van audiovisueel werk uit de collectie van het museum. Van vijf kunstenaars wordt werk getoond dat de grenzen tussen portret en documentaire verkent; Joost Conijn, Tracey Emin, Arnoud Holleman, Pablo Pijnappel en Julika Rudelius. De tentoonstelling brengt een aantal verschillende artistieke posities bij elkaar die thema’s als de menselijke habitat en sociale en culturele identiteit behandelen. Vijf portretten slaat een brug naar de presentatie van de fotografiecollectie van Hans Kemna, tegelijkertijd in De Hallen Haarlem, waarin vanuit de fotografie vergelijkbare onderwerpen worden behandeld.

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Five portraits presents several audiovisual works from the collection of the museum. Made by five different artists – Joost Conijn, Tracey Emin, Arnoud Holleman, Pablo Pijnappel and Julika Rudelius – the works in the exhibition explore the boundaries In CV – Cunt Vernacular vertelt de Engelse kunstenaar Tracey between the portrait and documentary genres. The show comEmin op de voice-over haar leven aan de hand van haar liefdesbines various artistic positions centring on themes like the human geschiedenis, terwijl een camera haar interieur registreert. Emin habitat and social and cultural identity. In terms of subject matter, AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA heeft haar eigen leven, haar persoonlijk levensverhaal tot onder- AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA Five portraits has strong ties with the presentation of the Hans

15/3 – 8/6 2008

VIJF PORTRETTEN

DE HALLEN HAARLEM

VLEESHAL BENEDEN / GROUND FLOOR


Kemna collection, which is held simultaneously in De Hallen Haarlem and which dwells on similar themes from a photographic perspective.

NAN GOLDIN HEART BEAT AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

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In CV – Cunt Vernacular, English artist Tracey Emin talks in voice-over about her own past while a camera records the interior of her home, using her love life as a point of reference. Emin has elevated her own history, her personal life story, to the subject of her art. Her work is immediate, intimate and unambiguous, and often offers heartrending commentary on the loneliness of the contemporary individual. Joost Conijn’s film Siddieqa, Firdaus, Abdallah, Soelayman, Moestafa, Hawwa, Dzoel-kifl also follows a documentary approach. In this work, Conijn portrays the seven children of a native-Dutch hippie Muslim family living in a squatted dockland area in West Amsterdam. While the total freedom in which the children are allowed to grow up feels straight out of an adventure tale, at the same time there’s an uneasy feeling that they will eventually be victims of social exclusion. A quest for adventure and social autonomy also drives the protagonist in Andrew Reid, Pablo Pijnappel’s video work from 2003. In this video, the artist attempts to get together with his stepfather, who promises to come to Paris from his home in Rio de Nan Goldin, Heart Beat, 2001, dia-installatie / slide installation Janeiro. Andrew Reid plays with the boundaries between documentary and fictional narratives, taking individualism and cultuDe dia-installatie Heart Beat, 2001 van Nan Goldin is samengesteld ral alienation as its central themes. uit 245 portretten van ‘couples and lovers’; vier verschillende paren The interface between fact and fiction, documentary and staged die aan het liefkozen en vrijen zijn. Speciaal voor Heart Beat heeft de images also plays a crucial role in the work of Julika Rudelius. Engelse componist John Tavener een Kyrie eleison gecomponeerd. Rudelius’ video work Train is a ‘clandestine’ recording of seHet muziekstuk wordt uitgevoerd door de IJslandse zangeres Björk. veral boys sitting in a train compartment, talking about girls and Heart Beat is een intense ode aan de liefde. bragging about their sexual prowess. The work shows a strong sociological interest: Rudelius simultaneously studies the group Nan Goldin (Washington, 1953) werkt al vanaf eind jaren zestig aan behaviour of young people and creates an intriguing portrait of een niets verhullend sfeerbeeld van intimi en kennissen uit haar diour times. recte omgeving. Ze concentreert zich op het nachtleven, op extravaInteriors, originally made by Arnoud Holleman and Pieter Kragant geklede mannen en vrouwen, op homo’s, travestieten en transmer for the Dutch broadcasting corporation VPRO, has a similar seksuelen, drugsverslaafden en aidspatiënten. Ze fotografeert hen sociological slant. Holleman and Kramer filmed a number of in de meest intieme situaties: op het toilet, in bad, dronken, masturpeople in the interiors of their homes, resulting in a clear and peberend, copulerend, huilend, stervend. Geposeerd wordt er niet. Ze netrating illustration of how our domestic environment contribuzet niets in scène, ze geeft geen aanwijzingen. Alles komt direct uit AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA tes to the construction of our ‘identity’. het moment zelf voort.

15/3 – 8/6 2008

VIJF PORTRETTEN

DE HALLEN HAARLEM

KABINET


Is het oudere werk doordrenkt van dood, ziekte, verslaving en wanhoop, haar recente werk staat in het teken van leven, hoop, passie en liefde. Zoals ze zelf zegt: ‘In het oude werk ging het over het gedrag van mensen, de laatste jaren interesseer ik mij meer voor hun innerlijke leven, hun relatie met zichzelf en met mij. Het spirituele interesseert me nu. Ik reflecteer wat ik zie en voel. Misschien breek ik daarmee even de glazen wand tussen ons en de wereld.’ Het werk Heart Beat toont een nieuwe kant in haar oeuvre; een kant die bijna haaks staat op de rauwe beelden van vroeger, maar even indringend is.

and feel. Maybe this allows me to temporarily break through the glass wall that exists between us and the world around us.’ Heart Beat shows a new focus in the artist’s oeuvre – a perspective that seems almost entirely at odds with the raw images of her older work, but which is no less intense in its effect.

Nan Goldin’s 2001 slide installation Heart Beat comprises 245 portraits of ‘couples and lovers’ – four different couples caressing and making love to one another. English composer John Tavener has composed a Kyrie eleison especially for Heart Beat, which is performed by the Icelandic singer Björk. In its totality, the installation forms an intense ode to love. Nan Goldin (Washington, 1953) has been working on a highly intimate atmospheric portrait of friends and acquaintances from her direct surroundings since the late 1960s. The photographer concentrates on nightlife – extravagantly dressed men and women, gays, transvestites and transsexuals, drug addicts and AIDS patients. She photographs them in their most private moments: sitting on the toilet, lying in bath, drunk, masturbating, copulating, crying, dying. No one poses; nothing is staged; Goldin gives no directions. Everything is a direct result of the moment itself.

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De 14 minuten durende installatie Heart Beat is aangekocht door Frans Hals Museum / De Hallen Haarlem, met steun van de Vereniging van Vrienden van het Frans Hals Museum en de Mondriaan Stichting.

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The 14-minute installation Heart Beat was acquired by Frans Hals Museum/De Hallen Haarlem, with support from Vereniging van Vrienden van het Frans Hals Museum and the Mondriaan Foundation.

Nan Goldin, Heart Beat, 2001, dia-installatie / slide installation

Whereas death, disease, addiction and despair pervade Goldin’s earlier production, her recent works are characterised by life, hope, passion and love. As the artist herself explains: ‘My old work was concerned with people’s behaviour, but in recent years I’ve become more interested in their inner life; their relationship with themselves AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA and with me. I’m interested in the spiritual now. I reflect what I see

15/3 – 8/6 2008

NAN GOLDIN

DE HALLEN HAARLEM

KABINET


DE HALLEN HAARLEM GROTE MARKT 16, HAARLEM TEL: 023 5115775 WWW.DEHALLENHAARLEM.NL DEHALLEN@HAARLEM.NL

DI T/M ZA 11– 17 UUR ZON- EN FEESTDAGEN 12 – 17 UUR TUE-SAT 11-5 PM SUN- AND HOLIDAYS 12-5 PM VOLWASSENEN/ADULTS: 5,00 EURO GROEPEN/GROUPS PP: 3,50 EURO 19 T/M 24 JAAR/ 19-24 YEARS 2,50 EURO JEUGD T/M 18 JAAR/UNDER 19 YEARS, MUSEUMKAART, VERENIGING VAN VRIENDEN, VERENIGING REMBRANDT: GRATIS/FREE

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Hans Kemna Catalogue Photography Collection