Saskia Noor van Imhoff: Grafting

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Open: Tue-Sat 11am-6pm

54 White Street, NY 10013, New York, United States
Open: Tue-Sat 11am-6pm


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Saskia Noor van Imhoff: Grafting

New York

Saskia Noor van Imhoff: Grafting
to Sat 26 Feb 2022
Tue-Sat 11am-6pm

GRIMM presents a showcase of recent works by Dutch artist Saskia Noor van Imhoff.

Artworks

Sweet connected, 2021

Plexiglass, neon, bamboo twig
51 x 56.5 x 12 cm | 20 1/8 x 22 1/4 x 4 3/4 in

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Incomplt patch, 2021

Laser cut plexiglass, enhanced matte paper
70 x 45 x 8 cm | 27 1/2 x 17 3/4 x 3 1/8 in

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Untitled, 2022

Plexiglass, bamboo twig, waxed cloth
Box size: 56 x 30 x 12 cm | 22 1/8 x 11 3/4 x 4 3/4 in

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Herbe a elephant, 2021

Laser cut plexiglass, enhanced matte paper
70 x 45 x 8 cm | 27 1/2 x 17 3/4 x 3 1/8 in

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Noix, patch part 02, 2021

Plexiglass, enhanced matte paper
50 x 40 x 10 cm | 19 3/4 x 15 3/4 x 4 in

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Parasite, 2022

Tinder fungus
Approx. 10 x 20 x 23 cm | 4 x 8 x 9 in

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Untitled, 2022

Plexiglass, neon, waxed cloth
Box size: 56 x 30 x 12 cm | 22 1/8 x 11 3/4 x 4 3/4 in

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GRIMM Saskia Noor van Imhoff Grafting 1

GRIMM Saskia Noor van Imhoff Grafting 2

GRIMM Saskia Noor van Imhoff Grafting 3

GRIMM Saskia Noor van Imhoff Grafting 4

GRIMM Saskia Noor van Imhoff Grafting 5

GRIMM Saskia Noor van Imhoff Grafting 6

Saskia Noor van Imhoff sees the world as an organic collection, a system of organization in which mutual relations are determined by (in)visible structures. Her practice is concerned with the fundamental architecture of our existence in an artistic context. This would include the modes of selection, curating and preservation regarding art works and collections: the considerations that make for the political forces that ascribe value and produce appreciation and (re)presentation of art.

Recently, Van Imhoff has shifted her focus from the framework of the classic studio towards an outdoor space in a Dutch polder landscape that she is currently using as an open-air studio. It concerns a small strip of land that prior to her arrival was subject to neglect, as little energy was invested in any type of upkeep and the plot was mainly used as a dumping ground for all types of leftover materials. These circumstances provided the artist with the possibility to further expand on her interest in traces and remnants. Since arriving, she has been digging and planting, sanitizing the soil and creating a space that is fit for cultivation. During this process she discovered vestiges of former use. And, throughout, she has been documenting and archiving her findings, activities and own additions.

Examining the growth of plant life and the evidence of past activity embedded in the soil, the earth tells a story of human and nonhuman interactions. Van Imhoff interprets and compliments this story with archival materials such as maps and historical documents which she has used to inform her understanding of the terrain and contribute to a layered, visual conception of the property. The way in which the artist advances alternate systems of referencing the bounded area that belongs to her, brings into question how property and ownership is signified. Does the division of land by lines, or borders, produce a sense of ownership? Or, in the case of neglected or undeveloped land, why is it attributed with a sense of emptiness, subject to a different set of values from that which is “owned”?

The works now presented at GRIMM are part of this ongoing research. Driven by the conceptual and historical significance of objects and places, the works examine the growth of plant life and the evidence of past activity embedded in the soil. Grafting, the act of transplanting one part of a plant onto another holds deep interest for Van Imhoff as a metaphor for the progress of culture. She sees the manipulation of the landscape as a kind of grafting, deepening the relationship between people and place, a relationship through which the concept of nature is borne.

Van Imhoff conceives her process as marking a moment in time, a temporary combination of materials and circumstance which will inevitably undergo further permutations. Among the materials she uses, Perspex, photography, glass, neon lighting, and found objects are all appropriated to create new systems. By placing the various materials together, contradictions disappear and new connections arise.

Saskia Noor van Imhoff (b. 1982 in Mission, CA) lives and works in Amsterdam (NL). She received her BA in Fine Art from the Gerrit Rietveld Academie in Amsterdam (NL) in 2008. She worked at De Ateliers, Amsterdam (NL) in 2012, and Künstlerhaus Bethanien, Berlin (DE) in 2014. Van Imhoff was awarded the ABN Amro Art Prize (NL) in 2017, the same year she was nominated for the Prix de Rome (NL). She received the Walter Tielmann Prize for Book Design (DE) in 2012 and the Gerrit Rietveld Academie Prize (NL) in 2008.

Van Imhoff has had exhibitions at various venues including: Centraal Museum, Utrecht (NL); the Arnulf Rainer Museum, Baden (AT); the 11th Gwangju Biennial (KR); Centre Georges Pompidou, Paris (FR); Frans Hals Museum|DeHallen, Haarlem (NL); Stedelijk Museum, Amsterdam (NL); De Appel, Amsterdam (NL) and the Moscow Biennial (RU).

Selected collections include Stedelijk Museum, Amsterdam (NL); Museum Voorlinden, Wassenaar (NL); Verbeke Foundation, Kemzeke (BE); ING Art Collection, Amsterdam (NL); The Ekard Collection; De Nederlandsche Bank, Amsterdam (NL);TextielMuseum, Tilburg (NL); AMC Art Collection, Amsterdam (NL); Akzo Nobel Art Foundation, Amsterdam (NL) and ABN Amro Art Collection, Amsterdam (NL), among other public and private collections.

Courtesy of the artist and GRIMM


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