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distant suffering XVIE | difference and repetition i.d. of a shared assemble game set

www.hansovervliet.com

Content Hans Overvliet | shortened C.V. Justification work in progress distant suffering (2013- ) Wikipedia on toys & Playing Remarks by Hans Overvliet about this work Pictures of the work â€“also separate via Wetransfer

distant suffering (2013-) is an ongoing series of work that investigates the role of the media in the representation of military violence and memory. With the production of the art-series distant suffering, Hans Overvliet questions the role of the media consumer, yet equally his own role as an artist. By constructing these works of existing media images, Overvliet allows us to view these images through an entirely different lens. Most often, the artist’s intended themes include the multiplicity of visual culture and its mindless consumption. Overvliet’s works ask the spectator to gaze intently at them, in order to instigate in the viewer a new awareness about the images around them. 1

ting way to the destruction of life in the struggle of people. The question is: what does this work add to what I know and who I am? My answer: an unexpected angle. Because Overvliet for example shows me five times an intense black plume of smoke; I suddenly I breathe a little different . . . . 5 Nico Out seamlessly matches with the analysis by the philosopher Hannah Arendt on the dichotomy 'compassion' versus 'empathy'. The action driven perspective that is included in the approach of her nonpaternalistic empathy is the performative part of the series distant suffering.

From a thematic perspective distant suffering is about art, violence, war & destruction as presented in media production, media consumption, fading remembrance / memory, the politics of aesthetics, and ownership of the event versus its documentation. The title of distant suffering derives from the book Distant Suffering, Morality, Media and Politics by Luc Boltanski2 – indeed the brother of. The exhibitions of distant suffering are also about questioning the neutrallity & safety of the art space and the role of the art producer & the art consumer. The poetry in distant suffering is inspired by Kahlil Gibran3, especially his poem from The Garden of The Prophet : Pity the nation divided into fragments, each fragment deeming itself a nation. The transition into art is inspired by the Dutch Artist Armando4: It is the beauty of evil, ‘die Schönheit des Bösen’, located in the belly of the evil, looking for a place in the wake of evil in order to show him-self to me, although it doesn’t amuse me at all. This beauty calls me to transfer the ‘evil’ into the innocent, because amoral domain the art. 1

Art critic Nico Out articulated the relationship artwork / Luc Boltanski in a review of my work in W45, art space Goes: Behind the formal aspect of the work of Hans Overvliet lies a strong commitment to the troubled spots in the world. (...) In his work impermanentce gets an extra charge. In "Anatomy of a Cloud" and "Syrian Skies' he refers subdued and in a penetrating way to the destruction of life in the

Julia Mulié , Assistant Curator Vleeshal, Middelburg, 28/11/2016 Cambridge Cultural Social Studies | ISBN 97-8052-1573-894 3 Lebanese-American artist, philosopher and writer. The book was originally published in 1923 by Alfred A. Knopf. 4 Armando, Acknowledgements About Beauty, 1987 5 Art section | PZC | 09/11/’14 2

Hans Overvliet | shortened C.V. Born: September 14 | 1952 Place of birth: Leiden | The Netherands Short introduction In his artwork in progress distant suffering [ 2013 - ] Hans Overvliet investigates the role of the mass media in their reporting on (military) violence. He explores, among other things, the ownership of the incident and the stories of the victims versus their documentation. The theme that the artist inquires, involve contemporary visual culture and its culturally colored consumption. At the same tome, in the art project distant suffering Overvliet questions his own role as an artist, a media consumer as well as the neutrality and safety of the art space. By restoring and deconstructing existing media images, Overvliet allows us to view these images from a completely different paradigm. 2019 Group: Arsis & Rijksmuseum | Bergen op Zoom [ Amsterdam ] Syrian Skies [ 2,724 days ] Solo: Roofprintpers | Middelburg connecting the Said al-Mishal Cultural Center Gaza Group: CultureCenterBrugges | Belgium | Exile Group: Karachi | Pakistan | Kabutar - Pigeon 2018 Group: Solo: Solo: Group:

2016 Group: Art Gouda [ residence ] | i.d. of a shared key #1 Group: Biennial Amersfoort | distant suffering VII-VIII-I Solo: Theater De Fransche School | Culemborg | conspectus 2015 Solo: Solo:

Mon Capitaine | Middelburg | conspectus (WOOT) | Antwerp [ Belgium ] | conspectus

2014 Group: Willem3 | Vlissingen | Syrian Skies 1,000 days Solo: W45 Art Space | Goes | Anatomy of a Cloud [ Gaza ] Group: Symposion Gorinchem | Cross #2 Prices | stipends 2018 Red Art Line Art Works [ U.K. ] | Annual Award 2018 ‘art series’ for distant suffering 2012 – 2018 Practice subsidy | Foundation Visual Arts Middelburg / Vleeshal Work in collection Waterland Neeltje Jans | Municipality of Axel | Municipality of Brugges Municipality of Middelburg | CBK Zealand | Various private collections Art-related activities 2015 - present | Initiator of Association Art House Zeeland, platform for artists 2014 – present | Initiator & organizer Platform Amateur Art for the Middelburgse City Festival 2009 - present | Chairman Foundation Studio Complex KipVis 2009 - 2014 | Chairman Foundation decreet / concrete, art magazine decreet 2005 - 2012 | Chairman PLUS MIN Foundation, Renesse, succeeded by IK Foundation, Vlissingen 2005 - 2009 | Unserved director Dalstar Foundation (Amsterdam) 1995 - present | Founder, curator & co-director of Art Space ruimteCAESUUR

From https://en.wikipedia.org/wiki/Toy copy-pasted & edited on 18/12/’18 ( …) Playing with toys is considered to be important when it comes to growing up and learning about the world around us. Younger children use toys to discover their identity, help their bodies grow strong, learn cause and effect, explore relationships, and practice skills they will need as adults. Adults on occasion use toys to form and strengthen social bonds, teach, help in therapy, and to remember and reinforce lessons from their youth.

Remark by the artist It is almost inconceivable that there is a room in which there is a table and chairs, in which a number of - I assume men - are seriously discussing the market for a new toy product: a to be assembled, bombed, destroyed office building. And that that idea is worked out by the design department, the drawing department, the mold factory, the marketing department, accounting, etc. And that this product some day, send from China, will arrive somewhere in the Netherlands, where an artist makes an artwork with it within the framework of an artpoject in Pakistan, curated by Mehreen Hashimi.

( …) The act of children's play with toys embodies the values set forth by the adults of their specific community, but through the lens of the child’s perspective. Within cultural societies, toys are a me-dium to enhance a child's cognitive, social, and linguistic learning. (…) in other cultures, toys are used to expand the development of a child’s cognition in an idealistic fashion. In these communities, adults place the value of play with toys to be on the aspirations they set forth for their child. In the Western culture, the Barbie and Action-Man represent lifelike figures but in an imaginative state out of reach from the society of these children and adults. (…) Construction sets The Greek philosopher Plato wrote that the future architect should play at building houses as a child. A construction set is a collection of separate pieces that can be joined together to create models. Popular models to make include cars, spaceships, and houses. The things that are built are sometimes used as toys once completed, but generally speaking, the object is to build things of one's own design, and old models often are broken up and the pieces reused in new models.

Title distant suffering XVIE | difference and repetition i.d. of a shared assemble game set hans overvliet - December 2018 | January 2019 Materials 1:144 3D Battle Damaged Building Outland Model Railway Abandoned-Building /dp/B07JG14TFY For Child Gift Hand Work. Plastic ABS Assemble Game Set (Li Limyt) | Made & bought in China bleached feathers plexiglass hood | 25 x 25 x 25 [ x o,3 ] cm. bracket | wood 12 x 12 mm. console | 25 x30 cm. | MDF 9 mm. both | primer white / topcoat gamma white 710 - matt