Wendellen van Oldenborgh

  • Wendelien van Oldenborgh

    Wendelien van Oldenborgh

    Amateur

    Emily Pethick, Wendellen van Oldenborgh, and David Morris

    Amateur is the first comprehensive publication about Wendelien van Oldenborgh's moving image works, and their accompanying installations. Developed over the past ten years of her practice, these works explore communication and interaction between individuals, often against the backdrop of a unique public location, in order to cast attention on repressed, incomplete, and unresolved histories. Through the staging of these encounters on film, van Oldenborgh enables multiple perspectives and voices to coexist, and brings to light political, social, and cultural relationships and how they are manifested through social interactions.

    The publication is generously illustrated and brings together a wealth of texts by artists, curators, and writers who have been key interlocutors with van Oldenborgh, and who each offer in-depth observations and reflections on a work from her oeuvre. These authors include Nana Adusei-Poku, Ricardo Basbaum, Frédérique Bergholtz, Eric de Bruyn, Binna Choi, David Dibosa, Denise Ferreira da Silva, Avery F. Gordon, Tom Holert, Nataša Ilić, Charl Landvreugd, Sven Lütticken, Anna Manubens, Ruth Noack, and Grant Watson.

    Amateur is published in conjunction with the Heineken Prize for Art, which van Oldenborgh received in 2014 and is supported by the Mondriaan Fund.

    Copublished with If I Can't Dance, I Don't Want To Be Part Of Your Revolution, and The Showroom

    ContributorsNana Adusei-Poku, Ricardo Basbaum, Frédérique Bergholtz, Eric de Bruyn, Binna Choi, David Dibosa, Denise Ferreira da Silva, Avery F. Gordon, Tom Holert, Nataša Ilić, Charl Landvreugd, Sven Lütticken, Anna Manubens, Ruth Noack, Grant Watson

    • Hardcover $45.00
  • A Well Respected Man, or Book of Echoes

    A Well Respected Man, or Book of Echoes

    Wendellen van Oldenborgh and Binna Choi

    The publication unfolds and draws an open-ended connection between individual and collective struggles and (emotional) conflicts intertwined with the colonial and decolonizing histories of Indonesia and the Netherlands by taking two film works by artist Wendelien van Oldenborgh, No False Echoes (2008) and Instruction (2009), as points of departure. Both films take up rarely spoken fragments of the Dutch colonial past, particularly related to Indonesia, that are dormant but still affective in contemporary Dutch society. With the participation of different historical and contemporary stakeholders set against specific built environments, these two films are presented in the form of photo-novels. The film No False Echoes introduces one of the major historical sources cited in full in the publication, that is, a 1913 essay on national freedom by Soewardi Soeryaningrat, an Indonesian nationalist—or “revolutionary”—whose radical position manifested in the essay is widely known in Indonesia. The reprint of this essay is accompanied by two contemporary responses by Lizzy van Leeuwen and Nuraini Juliastuti, which in turn open another text written in 1935 by Soeryaningrat under a different name, Ki Hajar Dewantara, concerning national education in Indonesia. The latter text indicates the shift in political strategies, which, instead of fearless resistance, moves forward toward gradual building of counter-institutions of “upbringing” of new independent subjects.

    Electric Palm Tree Textbook 01Copublished with Casco

    ContributorsBinna Choi, Lizzy van Leeuwen, Nuraini Juliastuti, Wendelien van Oldenborgh, Soewardi Soeryaningrat/Ki Hajar Dewantara

    • Paperback $25.00