Zoom Collection Spring/Summer 2010
Zoom: W&V Collection Spring/Summer 2010.
Style: Melted top: T 10-64-01,
Style: Folded seam skirt: S 10-63-10
WARMENHOVEN & VENDERBOS | Collection S/S 10
Erika Hock conceptual objects and pressure
“Weil ich es sage” (Because I say so) is an installation by the German artist Erika Hock. The title of the work reminds one of the conceptual writing piece by Robert Rauschenberg ( This is a portrait of Iris Clert if I say so). But ,looking at the other works and their titles in the series (how to love a bomb, gebeugt, es musste sein), Hock links more to the fact that she is challenging the resistance of a “strong, seemingly unmovable obstacle or barrier”,physical as well as mental. She increases the pressure with a belt on a “virtual” solid wall or block to a point where it bends and breaks, she drops a large solid cube so it damages by the impact but also under its own weight. The rigidness object reveals its weakness, its smooth skin cracks, it’s authority flows away and it becomes fragile. The clean and sharp geometry gets affected, distorted and damaged. Forged by pressure, a concept which also can be seen in and linked to the Imploded Sculptures by Ewerdt Hilgemann. In these sculptures Hilgemann used also external pressure, in his case created by a vacuum inside the object, to reshape large stainless steel geometric bodies. But where Hilgemann uses these real rigid materials for his objects, Hock basically creates the illusion of a rigid objects by using wood, gypsum cardboard, latex foam and adhesive polishing plaster. This fact adds yet another layer to the conceptual content and meaning of her works.
Hock has made a strong statement with this series of interesting conceptual pieces.
Photos: Erika Hock | Conceptual Installations
W&V Spring summer 2010 campaign online
The Warmenhoven & Venderbos website has been updated with the online spring/summer 2010 campaign which is featuring fragments from the S/S 10 collection.
“Some conceptual keywords and key-phrases for the collection are: Imprints of skin , imprints of garments , imprints of sizes. Distortion of or between translation results in distortion between the layers. Meaning and shape are redefined. Shape follows individual body and mind.”
Find all campaign images here on the W&V website.
WARMENHOVEN & VENDERBOS | Website: campaign S/S 10
Cindy Sherman early work: Doll Clothes
The below video is one of the First Cindy Sherman’s super-8 films. “Doll Clothes” has not been viewed since 1975, the year it was made in. It comically crosses Marcel Duchamp’s Nude Descending a Staircase with animated paper dolls in a sly, funny and clever precursor to the concerns that became signature elements in Sherman’s remarkable body of conceptual photographic work.
“Doll Clothes” was purchased with assistance from the American Patrons of Tate, using funds raised by a group of private collectors including Kathy and Richard S Fuld Jr, Monica Kalpakian, and Steve and Lisa Tananbaum in 2008
“Sherman’s 1975 animated short Doll Clothes, is among the pieces that bring Sherman’s early exploration of gender and identity into focus. Paul Ha and Catherine Morris
Super-8 black and white film transferred to video, silent
2min, 22sec
installation
Photos and video: Cindy Sherman | Tate collection | Ubuweb
