We Are All Guests #9: The Momentary Combo

We Are All Guests #9: The Momentary Combo

22 July 2022 from 17:30

Ai Lin, Eva Pechová, Victor Tetaz, Upam Lahkar, Raphaël Morère, Andy Ritchie, Thaïva Ouaki

An exhibition showcasing artists currently doing residencies at Foundation B.a.d., Zimmerfrei#2/#3_guesthouses, and Paviljoen aan het Water

Cédric Nolland

Untitled, film
By manipulating light, I scratch, highlight, erase, and cut the film. This practice is an extension of my previous work before the residency, and it has allowed me to expand my photographic vocabulary and explore the meaning of photography as ‘light writing.’

Cédric Nolland. 
Untitled, film.

Ai Lin

The Third Musician, 2022
Sound sculpture, audio 9’55, performance

Ai Lin composed a sound piece using sounds from the city of Rotterdam, which was then broadcasted by fourteen speakers. These speakers were suspended from wires and arranged in different directions, creating a perspective that drew the silhouette of a character waiting. The artwork was activated by a performance by Ai Lin.

Ai Lin. 
The Third Musician, 2022. 
Sound sculpture, sound piece 9’55, performance

Victor Tetaz

What did you dream of last night?
Three videos made with AI, digital photography and Google Maps 

These three videos were born out of the geographic distance between the artist’s place of residency and the location of their creation. As parasites among the other works, they disrupt continuity and offer unexpected perspectives. Like a fever dream, the images emerge from a fantasized classification of reality, revealing what the artist projected onto the place and time that they missed and making it visible. 

Victor Tetaz. 
What did you dream of last night?
Three videos made with AI, digital photography and Google Maps.   ’51,   3’20, and  6’40

Upam Lahkar

Untitled (x6) 
Oil on canvas, 24cm x 30cm

EYES. external image. Absorption. Transformation.

As registration occurs, it is filtered through our minds, becoming a part of a sophisticated network of trillions of intricate synapses that transform the image. Though it is registered momentarily, it may be lost forever unless regurgitated in an effort to revive it. At times, a certain cluster of neurons gives out a desperate cry: HANDS. This is a follow-through gesture that leaves a mark during and after its synthesis, making it palpable. It is almost as if magic is at work.

Upam Lahkar. Untitled ( x 6 ) . Oil on canvas, 24cm x 30cm

Raphaël Morère

Riding fluorescence, 2022
oil and acrylic on canvas, 40 x 40 cm / 60 x 50 cm 

One drop, then two
Touch the surface then fade away Soaked, covered,
green space
Images, glimpse of an alternative sub-vision.
The plastic birds seem to embrace the red firmament, upon which slender flowers rest. Meanwhile, a one-eyed Big Brother surveils a wandering, careless mongrel amidst a landscape of pink fumes, barrels, and shops. I find myself wistfully angling for the premature, lost treasure of my species, while you leisurely decant a turquoise contagion into our despondent and lucrative routes.
Upheaval of the masts
In the mad storm
Three wide circles Impose themselves on the casting
Erased silhouette waits On a desolate pedestal

Raphaël Morère. Riding fluorescence, 2022. 
Oil and acrylic on canvas, 40 x 40 cm / 60 x 50 cm

Eva Pechová

Out-frame, 2022
Video, 4 min 12
On the open stage, chairs are moved, and the slow, subtle, repeated rhythms of water drops can be heard. A narrative builds itself out of frame until the next still image is exhausted. There is a movement, a vertigo, a rhythm that causes the image to float like on the surface of water. This artwork explores unfocused sequences and absorption of still images, incorporating close-up shots and moves that merge into a single image. The subject sits down, making the moment last, and when she gets up, it triggers a cascade of free associations. We enter this world to escape elsewhere. 

Andy Ritchie

Uniting States Of Of, 2022
Three videos made with AI, digital photography and Google Maps 

‘Momentary Combo’ perfectly describes my exhibition method. The compound compositions are modular aggregations of smaller nodes of information, such as paintings, photographs, and drawings, all conforming to my own specific unit structure. This structure is starkly displayed here as interlocking paper shapes that form a central axis. This version is ‘wall-friendly’ and, let’s say, a more portable iteration of what I have been developing on canvas and wood. The flexible system suspends and compartmentalizes each dense bit of painting and allows me to roam and study what I want, which currently includes: VIOLENCE, TIME, and WILL (free or otherwise).

Andy Ritchie.  Uniting States Of Of, 2022.  Oil, mixed media on cardboard, canvas, paper

Thaïva Ouaki

Structures and Phenomena
Drawings, objects and natural elements 

The Heijplaat maritime quarantine station is situated on the southern bank of the New Meuse. Built between 1930 and 1933, it was intended to isolate and treat contagious seafarers but was never used for its original purpose due to the advent of penicillin for treating tropical diseases. Despite this, the buildings retain their original names, including the isolation barrack, administrative building, decontamination building, central kitchen, mortuary, and infirmary. Over time, the complex has housed various groups, such as refugees, migrants, and dementia patients from a psychiatric hospital. Since the mid-1970s, artists have lived and worked there. In 2020, a research project on the Quarantine began, combining documentary work with fictional elements related to the artist’s personal history. The project focuses on themes of in-between spaces, genius loci, departure by sea, the question of norms and otherness, and the idea of transformation. It analyzes how a place that was never used for its primary function can be reinterpreted and whether the absence of a specific function can create poetry, difference, and freedom.

Thaïva Ouaki. Structures and Phenomena. 
Drawings, objects and natural elements.