12. Reproduction Day

(1 January—0 )

11. Mikk Heinsoo

(28 June—10 July)

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My masterpiece was inspired by the fact that I live abroad and couldn’t have been at the opening of my exhibition when it was originally planned few weeks earlier. So I had to find a way to get the A1 to the location without me delivering it there. As I didn’t want to use any method of reproduction, then sending a digital file to be printed was also out of the question. That left me with an option of sending it by post. So I challenged myself to find a way to send an A1 format by regular post. After some trial and error, I ended up with an A1 made of very thin paper that was folded into an envelope approximately A5 size without using any extra packaging or stickers/glue and was sent from Tallinn (Estonia) to Amsterdam (The Netherlands) to be unfolded back to its original size at the destination. So the final details (stamps, folds, scratches) were added to the work by postal service. This method also provided the context of time (date stamps) and place (send and receive addresses) to the masterpiece.

credits for the folding instructions: http://www.instructables.com/member/saul/

10. Radim Peško

(29 May—11 June)

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Re-print of a note found in windows of a retail store. A1 format, silk screen print
on white uncoated 130g paper. Golden powder applied on top of wet black print.
For the opening event, the poster was accompanied by a wide variety of cookies
from a nearby supermarket.

9. Merel van den Berg

(15 May—28 May)

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The image is an enlargement of a photo of an A4 collage that is featured in the window of the permanent make up studio directly next to Meneer de Wit.

8. Joel Galvez

(3 May—14 May)

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There is a white painted, quite heavy, wooden board hanging in the middle of the room. It's a background where the poster is put up with nails. The weight of the board makes it a good pendulum.
A scanner works relatively OK as a camera, but since it takes some time for it to register the image, the moving white surface creates a pattern.

7. Eiko Ishizawa

(17 April—30 April)

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“The optimism in gravity” is the title of this work. I am fascinated about the figure of an optimist. I found the impressions that we have toward the optimists are interesting as like a projector of how we perceive the idealism in life. While understanding the admirations toward to the one who is incredibly optimist like a brave hero, I have recognized possibilities that these admirations could turn around to be hard critics easily as if they are miserably ignorant. It is the reaction to the freedom that we cannot gain because of attachments in life. I am interested in the relation between this idealism and the reality in individuals. I attempt to visualize this paradox in life dramas through optimism as freedom/idealism and the gravity as attachment/reality.
In this work, I have created this metaphor of optimism with a figure of a man who tries to survive through in the wild nature. He is made out of colorful paper pieces, in which represents as an island itself by hiding the discoveries of monkeys, trees and bush in his figure. By turning this image upside down, it is the metaphor of giving a hard time to this man. And at the same time, I am taking the position to cause the natural disaster to this island by letting the gravity pull the all the paper pieces of bush and monkeys to other direction like blowing the strong wind, where you can find the monkeys are hung in by linking together.
For the masterpiece presentation, I presented this image together with 4 floating balloons around, and these balloon colors are taken from this piece. Their ends of strings are connected with fake fruits, which fit with the color again of the balloon; a red balloon with an apple, a green balloon with a bunch of grapes, a yellow balloon with a banana, and only the blue balloon is connected with a blue paper butterfly that you can find the same one in the picture. I created this installation to illustrate this work of “optimism in Gravity” in physical way with using the helium gas of the balloons that goes up wards against the gravity and still connected to all the attachments on the floor that stop them to go up further.
Although, I liked that only one balloon with blue butterfly had freedom to go up the sky after the opening.

6. Will Holder

(5 April—16 April)

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from Will Holder
to Claudia Doms
date Sat, Apr 4, 2009 at 12:05 PM
subject Re: installation4
So, the idea is that TWO masterpieces combine to form one.
MY masterpiece is a conversation with a friend that concerned these TWO masterpieces.
I bring a poster. Your print and my poster will hang back to back, and the light that shines through them indicate the changing, subjective, temporal conditions of the word 'masterpiece'.
I prefer to defer from the 'absolute' idea that people have of 'masterpiece', and present a more cubist, relative idea. This will also be accompanied by me reading 'Location of a Circle' (from Stuff & Nonsense), resulting in part of my idea of 'masterpiece' that is momentary, and not always printable/reproducable.
The edition question has been solved, or at least the question's possible answer is to propose the model of a masterpiece that is never singular. Hope this helps.
I should've explained before. but I really prefer NOT to write things like this, but to demonstrate them.
w

5. Cécile Tafanelli

(20 March—2 April)

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It is impossible to consciously produce a masterpiece, since it is a cultural term which posteriorly defines an existing work of art as such. A masterpiece is like a step-stone in art history books, it defines an era, an art movement, and often it transcends it. But again it is a cultural term invented to vulgarise art-history for popular culture, therefore so-called masterpieces often become cliché (to speak of painters; almost all Van Gogh, Impressionist painters, Klimt, Leonardo da Vinci and Renaissance iconic paintings, Dali, Matisse, Rothko, Miro, Hopper and many others that we can find reproduced in many waiting-rooms around the world, for obvious aesthetic reasons).
I chose to work with a painting from Leonardo da Vinci, but possibly finished by one of his students: Giovanni Antonio Boltraffio. The painting is called Madonna Litta (1490).
The Renaissance period of art-history began in Italy at the end of the XIV century and spread throughout Europe. It creates a sort of loop in art-history, jumping over the Middle Ages but also propping itself upon it, to rediscover antique arts and themes—especially Greek and Roman mythology. Renaissance painting also widely uses biblical imagery and classical themes (pieta, nativity, annunciation), but frees itself from the religious aspirations of Gothic painting by introducing a humanist purpose to the painting which spreads a sense of happiness, ideals, peace and progress. This ideological progress will be linked to technical progress as well, with the use of perspective, chiaroscuro, sfumato and so on. Renaissance is also the start of what is called the early Modern Age, as well as the birth of the status of the artist as we still know it today.
Renaissance is thought of as being a 'digested' period, because we are now in what is called the Postmodern world.
What struck me in many Renaissance paintings, was the inside/outside depiction, the subject shown inside a house with a view over hills or mountains, sometimes rocks or vegetation. What was lacking in Gothic paintings and was introduced in ancient art was there, painted: the light, depth, human figure, architecture and nature. Altogether and composed.
The painting I chose to crop is a nativity scene, a Madonna dressed in the fashion of the times stands in the middle, one of her breast is barren, a naked and plump baby feeds on it, he's looking at the viewer and the Madonna is looking down at him, she has a peaceful facial expression. The light falls on her face. The baby and the Madonna are painted inside a house. The wall behind them is dark and pierced by two arched windows, situated on each side of the Madonna's face. Through these windows, a blue hilly landscape is spreading far as meets the eye.
This painting appears like a full world where the human is seen in his environment which is man made (the house), overlooking a peaceful and vast landscape, echoing the Madonna's facial expression. I deliberately supressed the human element, only to keep a window opened onto a vast idealized world. The window, which is a detail (some portraits of Leonardo are later painted on uniform dark background), becomes then the central point of escape of the viewer eye. The symbolic aspect of this detail (hope, comfort, and also purity of the landscape/baby) work as well as two eyes in the painting, imagining that the room where the Madonna and her child are, is more of a mental space. I reproduced this crop by enlarging a reproduction of it, and printing it as quality painting reproductions are done: silkscreened. The print, for technical reasons has a big raster, due mainly to the enlargement of the original printed source. This reproduction will create the best effect in your office.

4. Raoul Teulings

(6 March—19 March)

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My masterpiece is a wordplay between different notions. The notion of energy and anergy. Anergy is a medical term for the condition of a biological constellation to postpone a reaction. Anergy is seen by me in relation to 'ataraxia’, the Greek term for 'not being touched'.It’s a condition that Max Stirner describes in his 'The Ego and Its Own' which did not only influence other philosophers like Friedrich Nietzsche but received a lot of affection by Marcel Duchamp.
Interesting in this respect is that the French translation of the word indifférence in old schoolbooks is being explained as 'the stable and unstable balance as of a turning wheel on an axis'. And as you know, one of the most famous artworks of Marcel Duchamp was a bicycle wheel on a stool. This is not by coincident: in French the word for wheel is 'roue’ and placed on a stool it becomes: 'une roue sur une selle', which comes very close to the last name of one of the authors much admired by Marcel Duchamp: Raymond Roussel . So my own invented word 'Anenergy’, which is a oxymoron (contradiction), is based on associations and wordplays. And -of course- there’s the resemblance with the word ‘anarchy’, a condition almost every artist/designer should bear.
And last but not least: pronouncing the word brings you in a state of stuttering (because of the an/en beginning) to display that every expression is never able to represent the inner experience (in another wordplay: the 'inpression’).

3. Adam Etmanski

(20 February—5 March)

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3 YEARS, 6 MATCHSTICKS AND A LOT OF SHIT TO GO. My masterpiece is just another dreamy image. You could define the image as surrealistic photography, manifested installation, or a chaotic quotation. Unfortunately I hate surrealism as much as copying and chaos. All the forms and symbols treasured up without any consequences. Throughout the obsessive will, destructive damnation of detailed realization. It only remains for me to add that structure is as important as the decision between black and white. This person didn't realized things properly, what is right and wrong, where you find or need freedom..

2. Janis Pönisch

(6 February—19 February)

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My work is about the ignition, when the spark hits the fuel, the moment, when an idea or a synapse is created. When a star is born, the big bang bangs, one element fuses with the other into one thing again

1. Vela Arbutina

(23 January—5 February)

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