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The practice of Pieter Paul Pothoven consists of installation, photography and different forms of writing. Historiography in relation to material culture pervades all projects and connects them in both theoretical and visceral ways. Through the alteration of historical objects – 17th century chests of the East Indian Shipping Company (VOC), for example, or his grandfather's prison spoon from World War II – he aims to establish new relationships with the past by questioning the use-value of these objects in the present.

Pothoven's current project concerns the Revolutionary Anti-Racist Action (RARA). This anonymous activist collective fought in the 1980s and '90s against racism, oppression and exploitation – the ongoing legacy of Dutch imperialist history. RARA attacked, amongst others, Shell and Makro, companies with financial interests in South Africa during apartheid. He is collaborating with RARA to create an archive for the International Institute of Social History in Amsterdam, as well as texts and artworks that consider RARA’s heritage.

Pieter Paul Pothoven received his BFA at the Gerrit Rietveld Academie in Amsterdam and his MFA at Parsons The New School of Design, New York (US). He was a resident at, amongst others, Instituto Sacatar, Itaparica (BR), Fine Arts Work Center, Provincetown, MA (US) and the Jan van Eyck, Maastricht (NL). Recent and upcoming exhibitions include: The Other Kabul, Kunstmuseum Thun (CH); The Weight of a Stone, blank projects, Cape Town (SA); The Body Keeps the Score, Kunstenlab, Deventer (NL); TK15223, Dürst Britt & Mayhew, The Hague (NL); In the Presence of Absence, Stedelijk Museum Amsterdam (NL); No you won't be naming no buildings after me, TENT, Rotterdam, (NL); History is His Story, Nest, The Hague (NL); You Talkin' to me?, Barbara Seiler, Zürich (CH); Listen to the Stones, think like a mountain, Tatjana Pieters, Ghent (BE); Lapis Lazuli from Serr-i-Sang, PuntWG, Amsterdam (NL); 11:59, Hudson D. Walker gallery, Provincetown (US); The Intelligence of Things, The Kitchen, New York (US). He lives and works in Amsterdam.

studio:
pieterpaulpothoven(@)gmail.com
+31 6 28 18 77 17

represented by Dürst Britt & Mayhew

website design: DisplayHooray

The projects on this site are generously supported by the Mondriaan Fund, the Amsterdam Fund for the Arts, Stichting Niemeijer Fonds and Stichting Stokroos.

news
news

REFRESH #2, War and Conflict

Amsterdam Museum

Oct 8, 2023 ⟶ 25 Feb, 2024

group exhibition, in collaboration with the International Institute of Social History, more info soon

solo exhibition

Museum De Domeinen

2024, more info soon

Selected Projects 2012 - 2028

Fine Arts Work Center

Feb 10, 2023

Last Friday I gave a presentation about previous, ongoing and future projects. Abraham Storer wrote a nice article in The Provincetown Independent

residency

Fine Arts Work Center

Oct 1, 2022 ⟶ 1 May, 2023

Provincetown, MA, United States

Happy to return to this amazing place as a second year fellow!

The other fellows are: Bhion Achimba, Clarisse Baleja Saïdi, Blake Daniels, Kim Coleman Foote, Georgia Dickie, Mark Joshua Epstein, Willie Fitzgerald, Elizabeth Flood, Yahna Harris, Kristy Hughes, Siennie Lee, Hannah Perrin King, Gothataone Moeng, John Murillo, Christa Romanosky, Tinja Ruusuvuori, Sichong Xie, Kieron Walquist and Jorrell Watkins

The Other Kabul

Kunstmuseum Thun

Sep 3, 2022 ⟶ 4 Dec, 2022

Thun, Switzerland

group exhibition curated by Susann Wintsch, with Baqer Ahmadi, Arshi Irshad Ahmadzai, Latifa Attaii, Jeanno Gaussi, Sher Ali Hossaini, Kubra Khademi, Shahida Shaygan, Mohsin Taasha Wahidi, Parastou Forouhar, Necla Rüzgar, Almagul Menlibayeva, Ursula Palla, Ifthikar Dadi and Elisabeth Dadi, Pieter Paul Pothoven, Yerbossyn Meldibekov, Chantal Romani and Monica Ursina Jäger

The Body Keeps the Score

Kunstenlab

Jul 16, 2022 ⟶ 28 Aug, 2022

Deventer, Netherlands

group exhibition curated by Yuki Kho and Maurits de Bruijn with Alexis Blake, Lisa Ijeoma, Don Yaw Kwaning, Femmy Otten, Gerda Maas, Pieter Paul Pothoven, Buhlebezwe Siwani, Margherita Soldati, Sarah van Sonsbeeck and Eva Spierenburg

The Weight of a Stone

blank projects

Jul 28, 2022 ⟶ 17 Sep, 2022

Cape Town, South Africa

group exhibition curated by Thobile Ndenze and Lemeeze Davids with Belinda Blignaut, Donna Kukama, Tendai Mupita, Inga Somdyala, Jean-Marie Malan, Nolan Oswald Dennis, Pieter Paul Pothoven, Rowan Blem, Seltamorago Mashilo, and Zayaan Khan

De kleur van oneindigheid

NRC

Jun 30, 2022

Schrijver en filmmaker Bianca Stigter schreef een stuk over blauw en noemt daarin twee werken die ik maakte met lapis lazuli.

Art Rotterdam

Van Nelle Fabriek

May 19, 2022 ⟶ 22 May, 2022

Rotterdam, Netherlands

duo exhibition with Marwan Bassiouni in booth 26 with Dürst Britt & Mayhew

Kabul - Amsterdam; lapis lazuli uit Afghanistan

DIG

Jan 24, 2022

online interview met Vincent van Velsen

Op uitnodiging van DIG (De Internet Gids) sprak ik met Vincent van Velsen over mijn lapis lazuli-project dat recent een vervolg kreeg en nu te zien is bij Dürst Britt & Mayhew. We spraken over mijn herinneringen aan Afghanistan, oude en nieuwe werken, en hoe mijn kijk op dit project door de jaren heen veranderde.

TK15223

Dürst Britt & Mayhew

Dec 5, 2021 ⟶ 6 Mar, 2022

The Hague, Netherlands

solo presentation with new work in the front space of the gallery

ALL EYES

AkzoNobel Art Foundation

Oct 29, 2021

Amsterdam, Netherlands

The AkzoNobel Art Foundation is celebrating more than twenty-five years of of collecting art with the jubilee exhibition ALL EYES | We Are The Collection!

group exhibition with Natasja Kensmil, Afra Marciel Eisma, Remy Jungerman, Otobong Nkanga, Patricia Kaersenhout, Saskia Noor van Imhoff, Willem Hussem and many others

Re:Use Clinic #2 | Uncertain Archives ethical dilemmas

Apr 26, 2021

14:00 -16:00, via Zoom
Click here to book tickets via Eventbrite

ARIAS and Open Archief collaboratively organise Re:Use Clinic #2 | Uncertain Archives ethical dilemmas, a public event for heritage professionals, artists, and other interested parties, in the creative reuse of heritage collections.

The central issue of this clinic revolves around the uncertainty of the stories that archives tell. By listening to the matters and ethical questions that navigate the practices of Simone Zeefuik, the writer, cultural programmer, and director of the course Blacker Blackness at Sandberg Instituut, and Pieter Paul Pothoven, the artist-archivist, this clinic contemplates with its participants the ethical concerns arising when cultural heritage material is (re)used. How can archival engagement offer different and critical perspectives on historical narratives, identity, and representation? And what role do artistic tools such as fiction and imagination play in this respect?

Archival theorist Michael Karabinos is hosting the event and will moderate conversations between the speakers and the audience after the presentations.

For ARIAS this collaboration with IISG, HNI and Beeld & Geluid for Open Archief builds further onto the earlier Artists & Archivist series and the current thematic line Estuaries: Ways of Knowing. The Open Archief Re:Use clinics are a series of public events for heritage professionals and interested parties in the creative reuse of heritage collections. The clinics address matters essential for reusing collections and for the process of makers.

Kunst is Lang

Mister Motley

Oct 26, 2020

Het tempo van afwisselingen en opkomende kunstenaars is hoog, de zendtijd voor hedendaagse kunst is bescheiden. Daarom maakt mister Motley samen met presentator Luuk Heezen sinds november 2015 het radioprogramma Kunst is Lang: een gesprek waarin een hedendaagse kunstenaar drie kwartier de tijd krijgt om te praten over zijn of haar kunst, het kunstenaarschap, en het wereldbeeld dat daarachter zit. Maandag 26 oktober is Pieter Paul Pothoven te gast.

In the Presence of Absence

Stedelijk Museum

Sep 5, 2020 ⟶ 31 Jan, 2021

Amsterdam, NL

Spanning more than 14 rooms, the interdisciplinary exhibition In the Presence of Absence presents a selection of (counter) narratives that challenge fixed ideas about our society and question how history is written. When not addressed by organizations such as schools, libraries, archives, and museums, the absence of these stories forms knowledge gaps within the public debates that shape our collective consciousness and memory.

this edition of the Proposals for Municipal Art Acquisitions is curated by Britte Sloothaak and Fadwa Naamna and includes the work of Sadik Afraji, Leonardiansyah Allenda, Kristina Benjocki, Kasper Bosmans, Rowena Buur, Anna Dasović, Timo Demollin, Quinsy Gario in collaboration with Mina Ouaouirst, Inas Halabi, Remy Jungerman, Natasja Kensmil, Sarah van Lamsweerde in collaboration with Leroy de Böck and Alicia Hoost, DOMINIQUE (Dominique Latoel), Ahmet Öğüt, Wendelien van Oldenborgh, Our Polite Society, Pieter Paul Pothoven, Farida Sedoc, Ghita Skali, Evelyn Taocheng Wang, Jennifer Tee, Gilleam Trapenberg and Werker Collective

media (in Dutch): OVT (Radio 1), NRC, Het Parool, Elsevier Weekblad, De Groene Amsterdammer, MetropolisM

Radio Futura

Frascati

Oct 9, 2020

Marijn Lems (theatercriticus) en Dionne Verwey (theatermaker en anchor van Radio Futura) gaan in gesprek met Khadija al Mourabit (filosoof en beleidsmedewerker van het Amsterdams fractiebureau van GroenLinks), politiek theatermaker Marjolijn van Heemstra en beeldend kunstenaar Pieter Paul Pothoven over polarisatie en de rol van kunst. Gemist? Luister hier het gesprek terug.

Art and Identities, Shifting Connotations

AkzoNobel Art Foundation

Sep 19, 2020

Essay written by Imara Limon for WE ARE THE COLLECTION!. This beautiful book is published on the occasion of the 25th anniversary of the AkzoNobel Art Foundation. My series of photographs Laguard is featured alongside the works of Otobong Nkanga, Jennifer Tee and Zanele Muholi, amongst others.

Three Ecologies of Blue: In Search of Lapis Lazuli

Stedelijk Museum

Mar 26, 2020

Amsterdam, NL

Unfortunately this event is cancelled due to Covid-19.

Patricia Pisters and I will speak about Deep Blue Geomediations: Following Lapis Lazuli in Three Ecological Assemblages, an amazing essay she wrote for Substance (John Hopkins University Press, Baltimore, US).

This conversation is part of Primary Colors, a program curated by Patricia Pisters, with Danielle Dean, Ngozi Onwurah, Rossella Biscotti, Lucile Hadzihalilovic, Pieter Paul Pothoven, and Richard Misek.
This is just one of many amazing events of this year's Studium Generale Relating [to] Color, an extensive transdisciplinary theory program organized by the Gerrit Rietveld Academie. Check it out!

F for Fact

Sandberg Instituut

Amsterdam, NL

Barbara Visser set up F for Fact, a new temporary program (MFA) at The Sandberg Instituut. I am excited to be involved as guest tutor. Application is open!

A Balancing Act, Working with the Revolutionary Anti-Racist Action

TENT

Sep 1, 2019

Rotterdam, NL

artist talk with Uriel Orlow

for more information please check the facebook event page

No you won’t be naming no buildings after me

TENT

Jul 12, 2019 ⟶ 22 Sep, 2019

Rotterdam, NL

group exhibition curated by Vincent van Velsen with Kader Attia, Kristina Benjocki, Marcel van den Berg, Alexis Blake, Aslan Gaisumov, Quinsy Gario & Glenda Martinus, Yoeri Guépin, Gert Jan Kocken, Dana Lixenberg, Taus Makhacheva, Uriel Orlow, Lydia Ourahmane, Pieter Paul Pothoven, Bert Scholten and Aimée Zito Lema

reviewed (in Dutch) by De Witte Raaf

Verzameld werk: de rijke collectie van Friesland

Fries Museum

Apr 20, 2019 ⟶ 15 Sep, 2019

Leeuwarden, NL

This exhibition shows recent acquisitions and donations, with contemporary works by Katja Mater, Annaleen Louwes, Oscar Santillan, Pieter Paul Pothoven, Emo Verkerk and Astrid Nobel

On the occasion of this exhibition, De Internet Gids republished De Lepel a short story I wrote in 2014. You can read it here (Dutch only)

Common Ground

AkzoNobel Art Space

Apr 20, 2018 ⟶ 20 Apr, 2020

Amsterdam, NL

group exhibition with work by Isaac Julien, Charles Avery, Otobong Nkanga, Michael Wolf, Guido van der Werve, and Gijs Frieling amongst others

History is His Story

NEST

Feb 15, 2019 ⟶ 14 Apr, 2019

Den Haag, NL

group exhibition curated by Heske ten Cate with Dean Bowen, Crystal Z Campbell, Em’kal Eyongakpa, Charl Landvreugd, Arna Mačkić, Sulaïman Majali, Pieter Paul Pothoven, Pamela Phatsimo Sunstrum, Jaro Varga

exhibition design by Studio L A

reviewed by MisterMotley and MetropolisM (both in Dutch)

Who's afraid of the archive?

International Instititute of Social History

Oct 4, 2018

Amsterdam, NL

presentations and round table conversations organized by ARIAS & Humanities Cluster [HuC], KNAW

Deep Blue Geomediations: Following Lapis Lazuli in Three Ecological Assemblages

Substance

Very happy with this essay by Patricia Pisters in Rock Records, Substance volume 47 no. 2 (issue 146), 2018 (Johns Hopkins University Press, Baltimore, US).

SUNDAYS

019

Aug 15, 2018 ⟶ 21 Sep, 2018

Ghent, BE

group exhibition with: Paul Barsch, Lysandre Begijn, Martin Belou, De Cleene De Cleene, Bram De Jonghe, Kasper De Vos, Kåre Frang, Olivier Goethals, Mathew Kneebone, Sophie Nys, Pieter Paul Pothoven, Stéphanie Saadé, Dries Segers, Santiago Taccetti and Chantal Van Rijt

Goethe-Institut

Jun 18, 2018

Salvador, Bahia

work presentation with Sacatar fellows (Alexandra Pechman, Victoria-Idongesit Udondian, Erica Connerny, Paul Roth, Fábio Duarte and Carolyne Lee Wright)

fellowship

Instituto Sacatar

Jun 11, 2018 ⟶ 6 Aug, 2018

Itaparica, Brazil

Balancing, balancing, a conversation between Yvette Mutumba and Pieter Paul Pothoven

MetropolisM

May 18, 2018

Balancing, balancing, covers (a few of many) topics discussed during an inspiring and afternoon long conversation I had with Yvette Mutumba, co-founder and editor in chief of C& magazine, and part of the curatorial team of the upcoming Berlin Biennial. Thank you Guus van Engelshoven (StudioGuste) and Imara Limon for editing!

facade suspended

Dürst Britt & Mayhew

May 5, 2018 ⟶ 23 Jun, 2018

The Hague, NL

facade suspended, my first solo exhibition at gallery Dürst Britt & Mayhew, sheds light on RARA, the Revolutionary Anti-Racist Action. During the 1980s and 1990s, this resistance collective fought against racism, oppression and exploitation, the ongoing legacy of Dutch imperialist history. The works on show are the first in a series in which I, in close consultation with RARA, both document and elaborate on this unprecedented case of post-war resistance. Point of departure for this exhibition is Overtoom 274, a house in Amsterdam that played a pivotal role in the exposure of RARA. facade suspended focuses on a police raid on the premises that took place in 1988, as well as on the facade, which is not only linked to RARA, but also has its own distinctive connection to the Dutch colonial past.

On the occasion of facade suspended, a text by historian and journalist Roeland Muskens (author of: On the right side, a biography of the Dutch anti-apartheidsmovement 1960-1990) with comments by RARA is published.

The Object as Intersection

Feb 8, 2018

interview by Sam Edens in Kunstlicht vol. 38, Mediated Imaginations: Technologies Touching upon Art (VU University, Amsterdam)

Launch at LIMA, Amsterdam, NL

Letter to "her"

Jan 18, 2018

publication in The Female Perspective

edited by Nina Folkersma in collaboration with Castrum Peregrini, with contributions by Lietje Bauwens, Mieke Bal, Michaël Defuster, Adeola Enigbokan, Nina Folkersma, Katerina Gregos, Lieneke Hulshof, Patricia Kaersenhout, Annet Mooij, Nat Muller, Josien Pieterse, Ronit Porat, Marjan Schwegman, Bianca Stigter, Renée Turner, Christel Vesters, David Whyte and Aimée Zito Lema.

book presentation at Framer Framed, Amsterdam, NL

What distinguishes the worst architect from best of bees?

Pratt Institute, New York, US

Oct 17, 2017

artist talk

UNSEEN international photography fair

Westergasfabriek, Amsterdam, NL

Sep 22, 2017 ⟶ 24 Sep, 2017

group exhibition with Jacqueline de Jong and Sybren Renema

Jonge vertegenwoordigers van het oude volk

article by Alix de Massiac
MetropolisM no.3, 2017

stone light mirror

Mediamatic, Amsterdam, NL

Jun 15, 2017 ⟶ 16 Jun, 2017

lecture during the Geo Media Research Network, a symposium with public presentations organized by Patricia Pisters (Amsterdam School for Cultural Analysis) and Adam Nocek (Laboratory for Critical Technics from Arizona State University), with amongst others: Jussi Parikka, Femke Herregraven, Lonnie van Brummelen and Jonathan Beller

Artists Weekend: Women and Resistance

Castrum Peregrini, Amsterdam, NL

May 5, 2017 ⟶ 7 Jan, 2018

series of screenings and presentations curated by Nina Folkersma with Lynn Herschman Leeson, Andrea Geyer, Bianca Stigter, Marjan Schwegman, Ronit Porat, Annet Mooij and Aya Johanna Danielle Dürst Britt

artist in residence

Castrum Peregrini, Amsterdam, NL

Mar 1, 2017 ⟶ 1 May, 2017

generously supported by the Mondriaan Fund

Zwart

Museum Kranenburgh, Bergen, NL

Dec 11, 2016 ⟶ 19 Mar, 2017

group exhibition with amongst others: Awoiska van der Molen, Renie Spoelstra, Arjan van Helmond, Paul Beumer and Karin van Dam

You Talkin' to Me?

Barbara Seiler, Zürich, CH

Nov 25, 2016 ⟶ 14 Jan, 2017

group exhibition with Sara Greenberger Rafferty, Sophie Jung, Jan Kiefer, Bernhard Martin, Sara Masüger, Inga Meldere, Pieter Paul Pothoven, Claus Richter, Jaanus Samma, Francisco Sierra

Sunsets never looked as stunning as through the haze of factory sooth

Jan van Eyck Academie, Maastricht, NL

Sep 10, 2016 ⟶ 14 Oct, 2016

group exhibition with Alexandra Navratil and Vincent Vulsma

work presentation

Goethe Institute, Salvador, BR

Jun 9, 2016

with Kara Crombie, Caroline Rodrigues, Oksana Zabuzhko, Phillip Boehm, Ana Paula Hofling

residency

Instituto Sacatar

Jun 1, 2016 ⟶ 31 Jul, 2016

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Independent Art Fair

Vanderborght Building, Brussels, BE

Apr 20, 2016 ⟶ 23 Apr, 2016

with Dürst Britt & Mayhew
duo presentation with Raúl Ortega Ayala

Open Studios

Jan van Eyck Academie

Mar 10, 2016 ⟶ 12 Mar, 2016

.

Territorial Drift

Garage, Rotterdam, NL

Mar 4, 2016 ⟶ 1 May, 2016

group exhibition curated by Yasmijn Jarram with Adam Helms, Irene Kopelman, Otobong Nkanga, Ben Russel, Chaim van Luit

Silent Light

Dürst Britt & Mayhew, The Hague, NL

Apr 9, 2016 ⟶ 14 May, 2016

group exhibition with Alexandre Lavet, Raúl Ortega Ayala, Sybren Renema, Puck Verkade

  • M e s o p o t a m i a n M a r s h e s
  • s i l e n t d i n n e r
  • updated L a p i s L a z u l i
  • 1 1 . 5 9
  • l i m e n a n e w s u n
  • new R A R A
Consignor Consignee (polypropylene)
Laguard

2010, series of 5 framed C-prints (80 x 100 cm each)

Laguard (pronounce as Lazjuward), displays five photographs of cut and polished slabs of lapis lazuli. Scientific mineralogy classifies lapis lazuli as a rock solely on the basis of a specified composition of elements. The local mine workers, on the contrary, categorize thirteen kinds of lapis lazuli sourced from the Koh-e-Laguard (the Blue Mountain) alone, through color and structure. Laguard displays five out of these thirteen varieties. I collected the stones in the photographs, in close vicinity of the mines in northeast Afghanistan. Within Laguard, the medium of photography mediates, facilitates and organizes. By setting up a frame and revealing only a part of the thirteen varieties of stone, Laguard at once mobilizes and obscures the process of categorization.

Sample 1/4, Regi-e-Siah, Adit #4

Sample 3/6, Zabzak, Adit #5

Sample 13/2, Sampaloo, Adit #2

Sample 2/1, Sorghpar Adit #1

Sample 4/1, Ablak, Adit #1

Consignor Consignee
Laguard

2010, series of 5 framed C-prints (80 x 100 cm each)

Laguard (pronounce as Lazjuward), displays five photographs of cut and polished slabs of lapis lazuli. Scientific mineralogy classifies lapis lazuli as a rock solely on the basis of a specified composition of elements. The local mine workers, on the contrary, categorize thirteen kinds of lapis lazuli sourced from the Koh-e-Laguard (the Blue Mountain) alone, through color and structure. Laguard displays five out of these thirteen varieties. I collected the stones in the photographs, in close vicinity of the mines in northeast Afghanistan. Within Laguard, the medium of photography mediates, facilitates and organizes. By setting up a frame and revealing only a part of the thirteen varieties of stone, Laguard at once mobilizes and obscures the process of categorization.

Sample 1/4, Regi-e-Siah, Adit #4

Sample 3/6, Zabzak, Adit #5

Sample 13/2, Sampaloo, Adit #2

Sample 2/1, Sorghpar Adit #1

Sample 4/1, Ablak, Adit #1

Lapis Lazuli from Serr-i-Sang
Laguard

2010, series of 5 framed C-prints (80 x 100 cm each)

Laguard (pronounce as Lazjuward), displays five photographs of cut and polished slabs of lapis lazuli. Scientific mineralogy classifies lapis lazuli as a rock solely on the basis of a specified composition of elements. The local mine workers, on the contrary, categorize thirteen kinds of lapis lazuli sourced from the Koh-e-Laguard (the Blue Mountain) alone, through color and structure. Laguard displays five out of these thirteen varieties. I collected the stones in the photographs, in close vicinity of the mines in northeast Afghanistan. Within Laguard, the medium of photography mediates, facilitates and organizes. By setting up a frame and revealing only a part of the thirteen varieties of stone, Laguard at once mobilizes and obscures the process of categorization.

Sample 1/4, Regi-e-Siah, Adit #4

Sample 3/6, Zabzak, Adit #5

Sample 13/2, Sampaloo, Adit #2

Sample 2/1, Sorghpar Adit #1

Sample 4/1, Ablak, Adit #1

In Absentia
Laguard

2010, series of 5 framed C-prints (80 x 100 cm each)

Laguard (pronounce as Lazjuward), displays five photographs of cut and polished slabs of lapis lazuli. Scientific mineralogy classifies lapis lazuli as a rock solely on the basis of a specified composition of elements. The local mine workers, on the contrary, categorize thirteen kinds of lapis lazuli sourced from the Koh-e-Laguard (the Blue Mountain) alone, through color and structure. Laguard displays five out of these thirteen varieties. I collected the stones in the photographs, in close vicinity of the mines in northeast Afghanistan. Within Laguard, the medium of photography mediates, facilitates and organizes. By setting up a frame and revealing only a part of the thirteen varieties of stone, Laguard at once mobilizes and obscures the process of categorization.

Sample 1/4, Regi-e-Siah, Adit #4

Sample 3/6, Zabzak, Adit #5

Sample 13/2, Sampaloo, Adit #2

Sample 2/1, Sorghpar Adit #1

Sample 4/1, Ablak, Adit #1

Shaft.Gallery.Drop.
Laguard

2010, series of 5 framed C-prints (80 x 100 cm each)

Laguard (pronounce as Lazjuward), displays five photographs of cut and polished slabs of lapis lazuli. Scientific mineralogy classifies lapis lazuli as a rock solely on the basis of a specified composition of elements. The local mine workers, on the contrary, categorize thirteen kinds of lapis lazuli sourced from the Koh-e-Laguard (the Blue Mountain) alone, through color and structure. Laguard displays five out of these thirteen varieties. I collected the stones in the photographs, in close vicinity of the mines in northeast Afghanistan. Within Laguard, the medium of photography mediates, facilitates and organizes. By setting up a frame and revealing only a part of the thirteen varieties of stone, Laguard at once mobilizes and obscures the process of categorization.

Sample 1/4, Regi-e-Siah, Adit #4

Sample 3/6, Zabzak, Adit #5

Sample 13/2, Sampaloo, Adit #2

Sample 2/1, Sorghpar Adit #1

Sample 4/1, Ablak, Adit #1

Laguard
Laguard

2010, series of 5 framed C-prints (80 x 100 cm each)

Laguard (pronounce as Lazjuward), displays five photographs of cut and polished slabs of lapis lazuli. Scientific mineralogy classifies lapis lazuli as a rock solely on the basis of a specified composition of elements. The local mine workers, on the contrary, categorize thirteen kinds of lapis lazuli sourced from the Koh-e-Laguard (the Blue Mountain) alone, through color and structure. Laguard displays five out of these thirteen varieties. I collected the stones in the photographs, in close vicinity of the mines in northeast Afghanistan. Within Laguard, the medium of photography mediates, facilitates and organizes. By setting up a frame and revealing only a part of the thirteen varieties of stone, Laguard at once mobilizes and obscures the process of categorization.

Sample 1/4, Regi-e-Siah, Adit #4

Sample 3/6, Zabzak, Adit #5

Sample 13/2, Sampaloo, Adit #2

Sample 2/1, Sorghpar Adit #1

Sample 4/1, Ablak, Adit #1

het blauw van Vermeer
Laguard

2010, series of 5 framed C-prints (80 x 100 cm each)

Laguard (pronounce as Lazjuward), displays five photographs of cut and polished slabs of lapis lazuli. Scientific mineralogy classifies lapis lazuli as a rock solely on the basis of a specified composition of elements. The local mine workers, on the contrary, categorize thirteen kinds of lapis lazuli sourced from the Koh-e-Laguard (the Blue Mountain) alone, through color and structure. Laguard displays five out of these thirteen varieties. I collected the stones in the photographs, in close vicinity of the mines in northeast Afghanistan. Within Laguard, the medium of photography mediates, facilitates and organizes. By setting up a frame and revealing only a part of the thirteen varieties of stone, Laguard at once mobilizes and obscures the process of categorization.

Sample 1/4, Regi-e-Siah, Adit #4

Sample 3/6, Zabzak, Adit #5

Sample 13/2, Sampaloo, Adit #2

Sample 2/1, Sorghpar Adit #1

Sample 4/1, Ablak, Adit #1