A-Drift

The installation takes the shape of the particular architectural fundamentals of a shelter. The frame, not stationary, but flexible, changing and part of the world, is also the vessel from which to observe the (outside) world.
To be uprooted or to inhabit a space, is determined by placing objects of significance; charged with a story, or affection; a reference or experience, a simulacrum. Their presence weave a story into another pre-existing one.
Together the sculptural constituents of this constellation, form their own semantics, existing within the frameworks laid out for them.

Materials:
textile, oak wood, plaster, marble, soapstone, glass, ceramics, porcelain.

A-Drift

The installation takes the shape of the particular architectural fundamentals of a shelter. The frame, not stationary, but flexible, changing and part of the world, is also the vessel from which to observe the (outside) world.
To be uprooted or to inhabit a space, is determined by placing objects of significance; charged with a story, or affection; a reference or experience, a simulacrum. Their presence weave a story into another pre-existing one.
Together the sculptural constituents of this constellation, form their own semantics, existing within the frameworks laid out for them.

Materials:
textile, oak wood, plaster, marble, soapstone, glass, ceramics, porcelain.

A-Drift

The installation takes the shape of the particular architectural fundamentals of a shelter. The frame, not stationary, but flexible, changing and part of the world, is also the vessel from which to observe the (outside) world.
To be uprooted or to inhabit a space, is determined by placing objects of significance; charged with a story, or affection; a reference or experience, a simulacrum. Their presence weave a story into another pre-existing one.
Together the sculptural constituents of this constellation, form their own semantics, existing within the frameworks laid out for them.

Materials:
textile, oak wood, plaster, marble, soapstone, glass, ceramics, porcelain.

A-Drift

The installation takes the shape of the particular architectural fundamentals of a shelter. The frame, not stationary, but flexible, changing and part of the world, is also the vessel from which to observe the (outside) world.
To be uprooted or to inhabit a space, is determined by placing objects of significance; charged with a story, or affection; a reference or experience, a simulacrum. Their presence weave a story into another pre-existing one.
Together the sculptural constituents of this constellation, form their own semantics, existing within the frameworks laid out for them.

Materials:
textile, oak wood, plaster, marble, soapstone, glass, ceramics, porcelain.

Out Of The Blue is made in collaboration with Andreas Sahl Andersen.

The installation was shown in Skulpturpark Hollufgård, Odense (DK).

In Out Of The Blue we reflect on some of the predicaments that follow living in a small twosome household in isolated lockdown. The extreme scale displacement between the intimate sphere and the all surrounding and ever pressing stream of information and mass statistics, is explored.
A wall built of compressed discarded hospital garments in plastic bags, was the starting point for a complex of sculptures, each referring to each other and to the wall.

Out Of The Blue is made in collaboration with Andreas Sahl Andersen.

The installation was shown in Skulpturpark Hollufgård, Odense (DK).

In Out Of The Blue we reflect on some of the predicaments that follow living in a small twosome household in isolated lockdown. The extreme scale displacement between the intimate sphere and the all surrounding and ever pressing stream of information and mass statistics, is explored.
A wall built of compressed discarded hospital garments in plastic bags, was the starting point for a complex of sculptures, each referring to each other and to the wall.

Out Of The Blue is made in collaboration with Andreas Sahl Andersen.

The installation was shown in Skulpturpark Hollufgård, Odense (DK).

In Out Of The Blue we reflect on some of the predicaments that follow living in a small twosome household in isolated lockdown. The extreme scale displacement between the intimate sphere and the all surrounding and ever pressing stream of information and mass statistics, is explored.
A wall built of compressed discarded hospital garments in plastic bags, was the starting point for a complex of sculptures, each referring to each other and to the wall.

Out Of The Blue is made in collaboration with Andreas Sahl Andersen.

The installation was shown in Skulpturpark Hollufgård, Odense (DK).

In Out Of The Blue we reflect on some of the predicaments that follow living in a small twosome household in isolated lockdown. The extreme scale displacement between the intimate sphere and the all surrounding and ever pressing stream of information and mass statistics, is explored.
A wall built of compressed discarded hospital garments in plastic bags, was the starting point for a complex of sculptures, each referring to each other and to the wall.

Configurate
2022 / Wood, brick, unbaked clay / 162 x 82 x 144 cm

Configurate
2022 / Wood, brick, unbaked clay / 162 x 82 x 144 cm

Banner series
textile
110cm (B) x 245cm (L)

2021

Out Of The Blue is made in collaboration with Andreas Sahl Andersen.

The installation was shown in Skulpturpark Hollufgård, Odense (DK).

In Out Of The Blue we reflect on some of the predicaments that follow living in a small twosome household in isolated lockdown. The extreme scale displacement between the intimate sphere and the all surrounding and ever pressing stream of information and mass statistics, is explored.
A wall built of compressed discarded hospital garments in plastic bags, was the starting point for a complex of sculptures, each referring to each other and to the wall.

Out Of The Blue is made in collaboration with Andreas Sahl Andersen.

The installation was shown in Skulpturpark Hollufgård, Odense (DK).

In Out Of The Blue we reflect on some of the predicaments that follow living in a small twosome household in isolated lockdown. The extreme scale displacement between the intimate sphere and the all surrounding and ever pressing stream of information and mass statistics, is explored.
A wall built of compressed discarded hospital garments in plastic bags, was the starting point for a complex of sculptures, each referring to each other and to the wall.

Out Of The Blue is made in collaboration with Andreas Sahl Andersen.

The installation was shown in Skulpturpark Hollufgård, Odense (DK).

In Out Of The Blue we reflect on some of the predicaments that follow living in a small twosome household in isolated lockdown. The extreme scale displacement between the intimate sphere and the all surrounding and ever pressing stream of information and mass statistics, is explored.
A wall built of compressed discarded hospital garments in plastic bags, was the starting point for a complex of sculptures, each referring to each other and to the wall.

Out Of The Blue is made in collaboration with Andreas Sahl Andersen.

The installation was shown in Skulpturpark Hollufgård, Odense (DK).

In Out Of The Blue we reflect on some of the predicaments that follow living in a small twosome household in isolated lockdown. The extreme scale displacement between the intimate sphere and the all surrounding and ever pressing stream of information and mass statistics, is explored.
A wall built of compressed discarded hospital garments in plastic bags, was the starting point for a complex of sculptures, each referring to each other and to the wall.

Out Of The Blue is made in collaboration with Andreas Sahl Andersen.

The installation was shown in Skulpturpark Hollufgård, Odense (DK).

In Out Of The Blue we reflect on some of the predicaments that follow living in a small twosome household in isolated lockdown. The extreme scale displacement between the intimate sphere and the all surrounding and ever pressing stream of information and mass statistics, is explored.
A wall built of compressed discarded hospital garments in plastic bags, was the starting point for a complex of sculptures, each referring to each other and to the wall.

For the exhibition Infinitesimal six artists from artist collective ANNASTATE invite you to take part in the sharing of their kitchen This exhibition isan exploration of that kind of
collective dreaming experience.
What does it mean to find oneself in space, to relate to space, to tend to it, to embody it?
There is a special kind of attention that goes into caring for, inhabiting and sharing spaces and bodies alike, and watching things grow and wither
In the space of A Shop Called Life we welcome you to take a seat, drink some tea
and touch (be touched, sometimes?) by the little artworks that inhabit the room time passes by, meanings flow and fizzle out.

With artists collective ANNASTATE

Pictures by: Daan Muller

FACADE
Through a staircase-shape the building leaps into the eternity of the sky.
Looking down from that high top, white ghost; copies like classical sculptures, stand below on the ground in juxtaposition with its progenitor.
The concrete bands shoulder the clouds; shoulder the ground, making up a balance. This area is dynamic: building up and building down. Buildings rising to the sky and flatten to the ground.
It is not a piece of communication, it is a presence, human size.
Every square meter in The Netherlands needs a presence, has a meaning.
Create space by acknowledging structures. Claim space in order to create meaning.

The three works "FACADE" are 1:1 copies of the concrete bands and pilasters of the west side of the Zeefgebouw. The band pieces are 80cm wide and 144cm high, copied of a in total 3 meter wide shape. The pilasters are real size copies of 53cm wide and 144cm wide. This side of the Zeefgebouw is 26 meters high. The building rose in 1914.

This artwork was part of an artist in residence project initiated by SIGN called “Spatial Interventions”. It took place in the months July - August 2021.
The artwork “FACADE” came about as a reaction to the Suikerunie Terrein. The work is now to be seen at De Wolkenfabriek in Het Zeefgebouw on the terrain.

https://sign2.nl/spatial-disruptions-the-aftermath/

With the support and help of:
Stichting SIGN
Gemeente Groningen
Mondriaan Fonds

Photography by Beeldsmits.

Zahar Bondars and Alex Andropoulos, as part of the artist initiative Annastate organized a lighthearted outdoor sculpture exhibition on the grass behind the Annastate studio complex. The basis of the exhibition is a figurative sculpture exhibition set around a game of Pétanque. All invited participating artists were welcome to create a figurative sculpture that is somehow involved in the game of pétanque.
The exhibition was set over a weekend and all visitors could have some nice food and indulge in a game of pétanque, next to the sculptures.

Photography: Trees Heil

Banner
Textile, wood, metal
120 (L)cm x 100(B)cm

Pictures by: Cosmin Cirstea

Group show at Den Frie
Efterårs Udstilling with the banner "Approximate Distance VI"

Textile

photographs: I Do Art Agency

Braids
Black and white photograpy
(2020)

Kunstpodium T, Tilburg, The Netherlands

This is a narrative relating to emotional stories, of resistance, of equality. The medium is the personal story. I have started to grow an interest in diaries. Any kind of diaries, from young writers from the Holocaust (as collected in “Salvaged Pages, by Alexandra Zapruder) to the autobiographical stories from for example Bella Chagall. I experimented with this interest in the photographic series called “Braids”. The look of young women from different countries all over the world speaks a universal language. I can see me in her eyes. The for me very interesting and important artistic question relating to this time, comes in here, exactly. What can the artwork give and what does the individual voice mean?
The question of private and public, discussed by many different people; philosophers, anthropologists, activists, artists etc. Elaborately written about by Hannah Arendt, in “The Human Condition”, formed a theoretical basis and research-topic for this series.

Untitled
Installation, wood, photographs
2020
KunstDrift, Breda, The Netherlands

Land-artwork and performance, in collaboration with artist Andreas Sahl Andersen (DK). In the nature area of Tarup-Davinde, on Fyn in Denmark.

Manually, we dig a large hole in the ground. Shovel-lift after sod-cut, the content of the hole is moved, sorted and arranged to together form a land-art work. With a scenic gravel pit lake as a background, the excavation becomes a scene and the workers become performers.
It is a tableau for the pervasive transformation of the landscape and the history of the extraction of gravel. From cultivated agriculture on natural, sloping hills, left behind by the recent ice age gorges and raging meltwater rivers, to an archipelago of man-made lakes. In many ways, the landscape now seems more "natural" and it is infinitely more species-rich than a cornfield. Here the question arises: what do we consider to be the respective natural and cultural landscape? Once, for one reason or another, we start digging the ground, it opens up a new potential, a new momentum - we have the opportunity to leave nature in a better condition. Our imprint is a choice. ”

Kulturregion Fyn’s COVID-19 Kulturpulje is the project's primary contributor, it is facilitated and supported by Tarup-Davinde I / S and is sponsored by Kansas Workwear.
The entire performance was open to the public every day from 9 a.m. to 5:30 p.m.
Everyone was welcome to help take part in the work. It is up to you whether you want to observe the work, grab a shovel, sort the excavated, move a pile or just place a rock.

Pictures by: Ard Jongsma

Banners
Textile
200cm (L) x 147cm (B)

2017-2020

Banners
Textile
172cm (L) x 150cm (B)

Pictures by: Cosmin Cirstea

Rites of Passage is a video/audio artwork telling the stories written by the author Raimundas Malašauskas.

See the full videos on
westdenhaag.com/thuistezien/97
vimeo.com/436204153

I was dreaming when I wrote this, forgive me if it goes astray. But when I woke up this morning, I thought that there was not enough time to experience the future anymore. You probably noticed it, too (…). At the same time, the speed of its arrival is such that you don’t notice it, either. You don’t even think anymore about how many times it happens.

In this final video, I wanted to read a text from Raimundas relating to time, and the arrival of the future. These subjects are not hard to find in his body of work, since his writings are submerged in layers of time. They find their way to the reader by changing the voice of the dominant speaker, the narrator, moving back and forth between the past and present. We swirl around in the authors thoughts, after have been in direct contact with a stranger, another author, an event or a dream.

In this densely layered experience of reality, mortality and identity, there is besides a grey voice of melancholy and mourning over lost time, an intens freedom (as Raimundas calls it ‘seamlessness’) awaiting us in the changing narration and juggling with vocabulary and grammar, in the space-in-between it creates.

In this time when facing chaos, uncertainty and undefinedness, when catching this vertigo which we can feel when swirling around like the reader in Raimundas texts, we would like to give a hint and a feel for that freedom lurking in the multitude of perspectives and voices.
Raimundas says: ‘(…) but… What if you were to be looking in the mirror and your reflection began to laugh back at you, or walked away from you to leave you standing gazing into an abyss that was once your being?’
This abyss we can look into, redefine and transform, as ‘metamorphosis’:

For me, the butterfly is the best example. One thing is not changed for another, instead it undergoes a metamorphosis. When you want to change the world, attack it, but you cannot change it because you’re bound to damage it. What you can do is mutate it, working towards making a change. [...]

These reading sessions were made possible by Raimundas Malašauskas and his collected writings ‘Paper Exhibition’, West Den Haag with support of Marie-José, with support of Stroom Den Haag, the film recordings of Ciril Rafael Vasilyev and Kate, archive footage and editing work of Sasha Zalivako, filming and organisational efforts from Zahar Bondar, and the voice recording from Janne Schipper. Organised by Annastate collective.

Acrylic ink and pencil on paper. 21 x 29,7 cm

Poetry for anna
Analogue photography
2019
Aq-tushetii residency, Georgia

For anna too
poetry, installation
textile, wood
2019
Expositie at Helicopter, Den Haag

I Have Never Heard Of It
Video, sound
2019
Watch:
vimeo.com/465467510

"I'd Like To Melt Down When You Do". Group Show. Amsterdam, The Netherlands

In De Geest Van
Black and white photography
2018
Residency, Lucebert house, Bergen NH

To start with, there probably is no cadre. But at least some things can be seen as one. Even in their most rigid shape, in their most measurable moment, they remain a momentary one.

Partially build on top of the roof of the KABK and partially located in the small room on top of all other rooms, this installation uses its location to indicate its reference points:
the grand horizon and a small confined space inside.
Through the friction of these two cadres, the beautiful necessity for "a border", "a mark" in the complexity of the phenomena surrounding us as humans is elaborated on.
In order to grasp, understand, a point in space must be taken, taken to be left alone again in the right time.

The wheel outside, slowly moving round, til hitting the bell; only to continue its cycle once more, takes exactly 20 minutes and 27 seconds for one full rotation.
This is the time its takes for one sound-wave of the earths (the sphere itself, as a mass) lowest sound to complete in time.

It is not the measurements and the calculations that make my hands reach out in longing for- but the feeling when one closes their eyes and for a brief moment gets a sense of immense space and all that has a location in it, slowely floating around.

„I want to handle things, that are bigger than me“ says Janne Schipper. With this, Janne proves to be part of a generation of artists and designers which has an affinity for science. They aim for knowledge; not personal experience, but comprehensible, accessible knowledge for everyone. Scientists have always done that by asking questions and by building arguments. Now artists and designers do the same. But they are not afraid to strengthen their arguments through intuition, aesthetics and visual competency. Science has become our closest relative, rather than craft or entertainment. The poetry of Janne’s work is deeply related to her look at the world, an open yet complex view. Janne has chosen the tower of the academy building on the Prinsessegracht for her final project, transforming it into a mysterious bell tower. It creates an expectation which is rewarded with a moment of contemplation and lustful curiosity, rather than a spectacle. “
-Klaus Jung, head of Fine Art department KABK.

Banners
Textile
200cm (L) x 102cm (B)

2017-2020