Wunderkammer Wunderkammer international photo exhibition April 11th 2018 - May 26th 2018 Contents Preface ................................................................................... 7 Catalogue ............................................................................. 1 3 About the Artists .................................................................. 73 Next Exhibition ..................................................................... 81 Wunderkammer Copyright © 2018 Galerie Sehnsucht Print: Pumbo.nl Coverphoto: Rommert Boonstra Designed by Studio Holalola All rights reserved. This book is copyright material and may not be copied, reproduced in whole or in part, in any form without written permission from the publisher and/or photographers. PREFACE Preface Wunderkammer The camera is the eye with which we behold the wonders in the world. In days goneby kings 8 9 collected the natural and man- made marvels of the world in special ‘wonderrooms’, nowa- days we make a photo of them. But a camera doesn’t only capture reality, it shows our fantasies, dreams and fears just as well. Photography is a tool to catch wonders and keep them in a dark chamber - the Wun- derkammer. We invited photographic artists from over the world to show us their wonders. Every techni- que was welcome, as long as photography in the Nether- series of changing images, a the basis was a photographic lands. About the Wunderkam- projection of a film on another image. mer he says :”One of the most film called memory. Everything Guest curator for this exhibition remarkable proporties of our is connected to everything. No- is Rommert Boonstra, one of existence is its fluency. Reality thing is solid and true; things to the founding fathers of staged is just a seemingly endless hold on to are missing. Life can be so confusing that one starts I could find to this uncertainty looking for certainties. Some- is art. The art of wondering. I 10 times mankind finds a God, the started my career as a director 11 unmovable mover, sometimes of a theatre, but after a while I a brand new sportscar, some- decided to become the director times a mathematic law, which of my own imagination. I put a tries to be universal. But it box on the table, took a camera doesn’t matter how much you with a wide lens so the box search; in the end, death awaits would look like a big stage, and us all. hung a lamp above it. Then I Everybody steers for darkness. started building things in the The photograph is the ultimate box, putting things in it, and by symbol of this fluency. The baby eclectic combinations a new on the carpet who was to beco- world was born. Everything was me my father, has changed into possible and allowed. From that dust and ashes and even these moment on, my life has entered ashes are evolved in something a Wunderkammer’. else by now. The happy young < < Ferrante Imperato, Dell’Histo- bride in front of the town hall ria Naturale (Naples 1599) in Groningen didn’t know she > Presentation of the Pomeranian would die too young, years after Art Cabinet to Duke Philip II of Po- having become my mother. The merania by Anton Mozart, ca.1617, Kunstgewerbemuseum Berlin only - albeit temporary - answer CATALOGUE Arnoud Bakker Zeist - the netherlands My muse, 15 years ago, in my attempt to capture her in as many ways as possible. Here 14 15 I ‘caught’ her in a series of 3D photographies, giving her ‘real’ volume and tactility when you use 3D glasses. Arnoud Bakker Study of Jet, 2002 Block of 11 small frames with pin- ned photographic prints approx. 36 x 68 cm, with 11 frames of 11 x 17 cm. Ed. 1 Rommert Boonstra Rotterdam - the netherlands Guestcurator of the Wunder- Rommert Boonstra says about kammer exhibition Rommert his work:‘My photography deals Boonstra devoted his life to with things that you see out of 16 17 photography and poetry since the corner of your eye, things 1980. Before that time he was that disappear when you look a theatre director. Boonstra straight at them, things that pop is one of the founding fathers up out of the darkness and turn of Staged Photography in the out to be something else when Netherlands. He turned boxes you stare at them more closely, filled with objects in Wunder- things you imagine to lie under kammers which he photograp- your bed. hed, and nowadays he makes I try to find the pictures that his wonderworlds also on the operate beneath the surface, computer. In The Netherlands that are behind trees, that have millions of commuting people hidden themselves between the unconsciously know his work, rocks. My work deals with si- for a long time his artworks lence, with the passage of time, could be seen in 800 trains of it deals with dreams dreamed Rommert Boonstra the Dutch Railroads. with open eyes and invented Metropolis, 2011 Digital print, framed with passe- Boonstra also taught photo- memories. I am looking for the partout graphy at various academies in doors in my head, to see what 50 x 50 cm € 750,00 (excl. vat) The Netherlands and influenced is hidden behind them.’ Ed. 6 lots of Dutch photographers. Rommert gets his inspiration 18 19 during endless walks in the camera and start working. So- tery lies for Rommert. Fitting countryside, where he uses na- metimes, like all other artists he together memories, dreams ture as a the projection screen asks himself why. He feels that and thoughts to form a fragile for his thoughts. His work begs when the sun has blown up and and magnificent building that for quietness and Rommert mankind is an extinct species, exists only through the goodwill starts to blossom when he puts his work will be of no use at all. of light. Conjuring art out of a one foot in front of the other But at the moment he creates piece of apparatus that functi- for at least a hundred kilome- ist gives him a feeling of fulfill- ons as a magic wand as well ters. His thoughtstream finds ment from time to time: ‘I take as a machine. A form of beauty its way back into its natural photographs. Therefore I am’. is born. Perhaps it is true that bed. Only after that Rommert Fixing self-created dream beauty has burnt her face, as can stand calmly behind the worlds, that’s where the mys- a dutch poet suggested, states 20 21 Rommert, but this has only made her more graceful. ‘Beau- ty has to be mauldy, decayed, slightly dangerous. Otherwise all that is left is aesthetics. Except for the landscape the kitchen is one of the sacred spots of my soul. Nowhere the << Rommert Boonstra Theresia fleeting existence of life is emp- Digital print, framed hasized more. Nature changes € 750,00 (excl. vat) Ed. 6 from 9 into dead food and this food serves to keep me alive’. < Rommert Boonstra Out of the Future Digital print, framed 50 x 50 cm € 750,00 (excl. vat) Ed. 6 > Rommert Boonstra From the series ‘Apocalyps’ Collection Artist Information on request Peter Eleveld Olst - the netherlands Peter Eleveld has been working prises and sometimes even in the professional photography disappointments. Peter says: 22 industry (Rijksmuseum Am- ”You only have one prepared 23 sterdam, Amazon.com, etc) for wet plate and one chance to many years. He worked with get it right. You have to think film as well as digital means. ahead, make the composition, When he arrived at a point light, time, aperture and it will where he could not feel all come together in one unique excitement and creativity any- magic moment. This magic more Eleveld searched for new moment happens sometimes < Peter Eleveld ways to find his drive again. and then a one-of-a kind photo Crustaceans, 2018 Giclée print, aluminium Peter was always attracted to develops in front of your eye! 50 x 50 cm the old big wooden cameras There is something very satis- € 495,00 (excl. vat) and historic photographic pro- fying working with the wet plate Ed. 10 cesses. So he decided to find process. It gives meaning to the > Glass, 2016 himself a 10”x10” wooden material I am using and I can Giclée print, aluminium 50 x 50 cm camera and start working with lose myself for days in creating € 495,00 (excl. vat) the wet plate collodion process. new images.” Ed. 10 With this he could go back to >> Hogweed, 2017 the very beginning of the photo- Giclée print, aluminium graphy. 50 x 50 cm € 495,00 (excl. vat) The wet plate process is an Ed. 10 exciting process and full of sur- 24 25 Geertje Geertsma Groningen - the netherlands Geertje Geertsma’s answer to the differences. As far as the Descartes ‘I think, therefore I physical processes like hunger, am’ is ‘we experience, therefore sexuality, birth and nourishment 27 we become’. This is the result are concerned, people are not of her conviction that everything any different from animals. is connected and therefore Geertje would love to see man- completion or fulfillment are kind get of his pedestal for she illusive. We are part of the great worries al ot about the loss of transformational processes of the biodiversity. That is how the the symbiosis called Earth in an ‘humananimalcreatures’ came infinite universe. Geertjes wish into being. is that we will fully recognize our interconnection with earth and that we will grow a deep respect for all living organisms. This is her primary motive and her work reflects this. Geertje Geertsma In her work Geertje Geertsma L, Photocollage, drawing tries to fade or even abolish the 30 x 40 cm, framed with museum dividing line between humans glass and animals. She rather emp- € 875,00 (excl.