Schipbreukeling – Mathieu Charles
en/

Wendelien van Oldenborgh and Erika Hock

Wendelien van Oldenborgh (1962, Rotterdam) develops works in which the cinematic format is a methodology for production and the basic language for presentations. Through public film shoots and collaborations with participants in different scenarios she co-produces scripts towards the work’s final outcome. Recent solo presentations include: tono lengua boca, CA2M, Madrid, 2019; Future Footnotes, Significant Other, Vienna, 2018; Cinema Olanda, Dutch pavilion, 57th Venice Biennale, 2017; .As for the future., DAAD gallery, Berlin, 2017; and From Left to Night, The Showroom, London, 2015. Van Oldenborgh is a member of the (Dutch) Society for Arts and a recipient of the Dr. A.H. Heineken Prize for Art (2014). In 2017/2018 she was a Fellow at BAK, basis voor actuele kunst, Utrecht. A monographic publication, Amateur, was published in 2016.

Erika Hock (1981, Dshangi-Dsher, Kyrgyzstan) is an artist whose practice is characterised by the fluid crossover of sculptural and architectural elements, as well as an extended interest in tapestries and furniture that investigate meeting points between history, society and culture. Her solo exhibitions include: Female Fame, Skulpturenmuseum Glaskasten Marl, Germany, 2020; Salon Tactile, Cosar HMT, Düsseldorf, 2018; Hotel Atlantik, Kunsthalle Lingen, 2018; Second Home, Philara Collection, 2017; What Bananas Say, Salzburger Kunstverein, 2015; and The Seamstress, Her Mistress, the Mason and the Thief, Tenderpixel Gallery, London, 2014. Her work has also appeared in group exhibitions such as Examination of a Case, Kunstsammlung Chemnitz, Germany, 2020–21; Mind the Gap!, Museum für Konkrete Kunst, Ingolstadt, Germany, 2020–21; and Un-Scene III, Wiels, Brussels, 2015.

The film Hier moves seamlessly between politically charged reflections and personal memories. Amid the renovation of Museum Arnhem, five young women express themselves in poetry, music and conversation. They explore themes of hybridity, transnationality and diasporic sensitivity: essentially, the political instrumentalisation of identity and cultural renewal in light of colonial history within contemporary society. The location is also a voice. Museum Arnhem has been a municipal art museum since 1920, when its first collection was donated by a prominent colonial family. 

Open Kino Pavillon is a hospitable structure by artist Erika  Hock, originally developed in 2012 in Dusseldorf. Hock’s works often function as hosting structures, and here the sculptural form is specifically adapted for presenting Hier.

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