25 Jan - 23 Feb 2013
In this show at 1646 Jack Segbars takes as starting point for exploration and production two strands of his practice: curatorship and writing. Mostly regarded as derivatives and servant to the figure of artist and artwork, those two practices are here put in contrast with the idea and notion of the originality of artwork and authorship.
Setting off from a review that appeared in Metropolis M and written by Segbars about Marijn van Kreij’s exhibition How to look out in De Hallen (Haarlem), a complex play develops, addressing the intertwined relations between, on one hand, production, tradition and reflection and, on the other: originality, authorship and appropriation.
The set-up for an exploration into this greyish, vague transitory environment is completed by Nickel van Duijvenboden, who wrote an article in the publication that was produced for the show in Haarlem.
Both Van Kreij and Van Duijvenboden have been invited to continue work from this starting point.
In this constellation the positions of producer, appropriator, appropriated and the status and authorship of the artwork are put to test.
The You in the title Hey you! seemingly addresses someone in particular, it remains however unclear who is meant by you or who is speaking: it might equally be the artist as well as the public, mediator or critic; and, maybe even more unsettling: the artwork.
Jack Segbars (1963) is an artist, curator and writer. He is primarily engaged with the conditions and parameters within which the concept of art is created. Together with the artist, the positions of institution, curatorship, theory and critique are at play in establishing the quality, and function of art and culture-production as a whole. To this end, Segbars has investigated the different forms and positions that shape the idea of art: autonomous visual art, the role of language in the art discourse and the role of the curator. In this hybrid and murky area of meaning-production through art, is where Segbars’ research is located. In 2009 he produced the publication Rondom-All around the periphery (Onomatopee) that deals with the overlap of positions and domains.
Nickel van Duijvenboden (1981) investigates ways of writing that border on the visual arts. His work is about perception in all its facets, notably solitude, silence, landscape, alienation and trauma. Photography, his discipline of origin, has served as an entry point, and still is an essential—yet largely invisible—tool within his process. He is currently preoccupied with the autobiographical record in both written, visual and aural form, and its position within the art and literary contexts.
Marijn van Kreij (1978) uses a range of media, including drawing, sculpture and video. Central to his practice is an idiosyncratic process of appropriation, repetition and copy, made manifest through various devices, including the staging of ready-mades. Van Kreij’s pieces often borrow lyrics from pop songs or re-visit historical works of art. Part of his artistic practice involves collaborative and/or curatorial projects such as The Only Rule is Work at Galerie Waalkens, Finsterwolde (2012).
Van Kreij has recently presented solo exhibitions at Galerie Paul Andriesse, Amsterdam (2012), Museum De Hallen, Haarlem (2011), Loraini Alimantiri/Gazonrouge, Athens (2009) and Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2009).