source: fonsweltersnl
Zooming in and out, resizing, translating and unfolding. It’s only a short list of a formal and associative system, which Saskia Noor van Imhoff (1982) applies to existing artworks and artifacts, allocating them a new place in her landscapes of sculptures and photographs. Central to Van Imhoff’s artistic practice are the elements one usually associates with the ‘hidden side’ of the museum: conservation, reconstruction, replicas, the depot, the design of an exhibition, the architecture and the museum lay out. What happens to the meaning and reading of the original work in these constantly changing situations? And how do these different contexts relate to a new space? Van Imhoff breaks with the existing or anticipated hierarchy, plays out the individual elements and provides them with a renewed meaning and value.

For # +14.00 – her first solo exhibition at Galerie Fons Welters – Van Imhoff builds upon her previous exhibition # +12.00 in Burg Bentheim. She examines the formal properties of a painting by Ruisdael (following an installation of Willem de Rooij), dissects dimensions, materials, colors, and unfolds the original in a new installation. For her exhibition in the gallery, the documentation of # +12.00 becomes the direct object and is overlain by a geometrical pattern of primary colors, which themselves refer back to the buildup of a color photo. Direct architectural elements, metal frames, are scattered through the space, invoking their previous context they are now both a drawing in – and of space.
This spatial drawing returns in another map laid out on the gallery’s floor, formed by tightly carved marble slabs. The sometimes calm, sometimes wild drawing on the marble itself becomes cartographic, while it simultaneously defines a space and based on an existing floor plan (of Berlin’s archeology museum, the Pergamon).

Although the numerical title of this exhibition # +14.00, at first instance gives little information, it plays directly with the systematic approach that through time, Van Imhoff has made her own, and the seriality that it carries within. The footnote incorporates this system by a direct reference to the stratification, but also the referentiality within her installations. In # +14.00 Saskia Noor van Imhoff connects these various elements according to its very own golden section. [Laurie Cluitmans]

Saskia Noor van Imhoff lives and works in Amsterdam and Berlin. She studied at Rietveld Academie (2004-2008) and was resident artist at De Ateliers (2010-2012). In 2008 she won the GRA Prize (Gerrit Rietveld Academie Prize); this year she was nominated for the Volkskrant Beeldende Kunstprijs 2013, for which she exhibited at the Stedelijk Museum Schiedam. Recent exhibitions include: Ruisdael Stipendium i.c.w. Willem de Rooij, Bad Bentheim, (2013), ‘Language Leaps’, Plan B, Berlijn; ‘Less is More, More or Less’, TENT, Rotterdam; R&D Department of Black Mountain College show, W139, Amsterdam (2012). Upcoming solo exhibition: De Appel Art Centre Amsterdam (2014).
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source: kadsnl
Saskia Noor van Imhoff maakt sinds 2008 site-specific werk, dat zij plaatst in een veelomvattend perspectief. Haar archivarische projecten zijn doorlopende installaties, die per gelegenheid een andere vorm en samenstelling aannemen. Het werk ontstaat uit de behoefte een niet-hiërarchische blik op de wereld te presenteren. De kunstenaar zoekt
naar verbanden op basis van herinnering, associatie en locatie. De installaties kunnen gelezen worden als onderzoekskamers, waarin zij bestudeert hoe iets tot stand komt.

Voor de manifestatie Kunst aan de Schinkel heeft van Imhoff voor Soledad Senlle Gallery een ruimtelijke installatie gecreëerd die lijkt op een oneindige gang. Het toont een selectieve samenvatting van fragmenten van de werken uit de manifestatie. Van Imhoff heeft onderzoek gedaan naar hoe de participerende kunstenaars het verleden interpreteren, hier is zij in haar eigen werk verbanden mee aangegaan. Daarnaast nodigde zij een aantal van de kunstenaars uit om in haar installatie te participeren.

Saskia Noor van Imhoff [Mission, 1982] won met haar eindexamenwerk in 2008 de Gerrit Rietveldprijs. Het werk werd aangekocht door de Verbeke Foundation. In 2010 had zij onder andere in Amsterdam exposities bij Huize Frankendael en Nieuw Dakota. Zij is momenteel als artist resident verbonden aan De Ateliers. Gedurende de manifestatie Kunst aan de Schinkel is haar werk op drie verschillende locaties te zien in Amsterdam: bij Huize Frankendael, ARTS [Huisarts Praktijk De Boer] en bij Jeanine Hofland.

EN
Saskia Noor van Imhoff has been making site-specific work since 2008, which she places in an extensive perspective. Her archival projects are continual installations taking on different shapes and compositions, depending on the circumstances. The work derives from a need to present a non-hierarchic perspective on the world. The artist searches for connections based on memory, association and location. The installations can be read as research rooms, in which the artist tries to figure out how something comes to originate.

For the Kunst aan de Schinkel project, Van Imhoff has created a three-dimensional installation for the Soledad Senlle Gallery, resembling an infinite passageway. It features a careful selection of fragments from Kunst aan de Schinkel artworks. Van Imhoff has researched how the participating artists have interpreted the past, and as such, has incorporated this into her own work. In addition to this, she also invited several of the artists to take part in her installation.

Saskia Noor van Imhoff [Mission, 1982] won the Gerrit Rietveld award with her graduate work, later purchased by the Verbeke Foundation in 2008. In 2010 she exhibited, amongst other places, at Huize Frankendael and Nieuw Dakota in Amsterdam. She is currently an artist-in-residence at De Ateliers. During the Kunst aan de Schinkel event, her work will be presented at three different locations in Amsterdam: at Huize Frankendael, at ARTS [office of GP De Boer] and at Jeanine Hofland.