Quartair Group, NL
Geeske Harting, Jessy Theo Rahman, Pietertje van Splunter, Thom Vink.
A horse, a horse!
(Shakespeare, The Tragedy of Richard III)
Quartair takes as its starting point the famous centuries old bronze horses chariot on the Basilica San Marco in Venice.
This work of exceptional craftsmanship is a landmark of art but also tells a story of changing powers.
Looted from Constantinople during the first crusades stolen by Napoleon, then returned to Venice under command
of the emperor of Austria. Now the original horses remain inside because of ongoing damage caused by air pollution.
Traveling and transformation are the key words of our concept : A Horse, A Horse!
Horses has been with
us since ancient times.
They appeared in pre-historic cave drawings and in myths as symbol of strength and vitality.
Horses have been a symbol of death, but also life, transforming through time.
Quartair will 'Jump
into the unknown' on a lifesize horse with articular limbs.
Brought to life the animal will become part of a journey of different stories.
Traveling from The Hague to Venice the horse will show up and transform in different performing spaces.
of the horse
in the public space, The Hague, Venice.
with horse in Palazzo Loredan dell 'Ambasciatore
Dragon Heads director Park Byoung Uk with the Laureates
Mrs Yoo Hye, Mr Alois Schild and Mr Jessy The Rahman
Performance Jaran Kepang
Presentation at Quartair The Hague september 2015
in and out of Venice
10 - 13 september 2015
Thom Vink, Geeske Harting, Jessy Rahman, Pietertje van Splunter en Harold de Bree
Quartair at the 56th Venice Biennale
opening: thursday 10 september 20,.00
open: 11, 12 and 13 september 13.00 till 17:00r
Artist talk sunday 13 september 16.00
Horse, a horse.. , Quartair
Jaran Kepang, Jessy Rahman
Machines of Loving Grace, Harold de Bree with Mike Watson
A Horse, a horse..., Thom Vink, Geeske Harting, Jessy Rahman, Pietertje van Splunter.
For the exhibition "Jump into the Unknown", part of the 56th Venice Biennale, Thom Vink, Geeske Harting, Jessy Rahman and Pietertje of Splunter
developed the art project "A horse, a horse" which reports on a (fictional) trip a life-size horse. This horse was used in the Netherlands and Venice
for films and performances. The horse sails on a boat through the Westland and emerges from the water as Hippocampus. The individual artists
tell their own story and over the horse during the trip from The Hague to Venice, is saddled with more stories, myths and meanings.
These actions are documented and resulted in a number of short films that where shown in the exhibition "Jump in to the Unknown"
and now at Quartair in the Hague.
of loving grace - Harold de Bree, Mike Watson
The advance of surveillance beckons its eventual ubiquity. In a completely advanced surveillance society there can be no escape, even for those who develop the technology in order to further their own interests.
This system echoes that described by Orwell in 1984, yet rather than the cameras working in one direction, as the surveillance of the public by law enforcement agencies, it appears that the public, with cameras
ever at the ready, are just as implicit in this surveillance machine as the 'State'. It seems no one is free from the surveillance machine, and, further, that everyone finds themselves as an operator of it.
In a sense this is empowering, yet at the same time, no amount of participation will lead to power over the surveillance mechanism itself just as no amount of exposure to the extent of surveillance will free us from it.
Edward Snowdens exposure of the level of government surveillance over the populace in the USA and other Western countries has been fundamental in aligning the debate over surveillance and internet use.
However, many people already assumed such a level of continuous blanket espionage. The risk is that it being made so visible will make it an acceptable part of life.
Mike Watson, from forth coming book "Joan of Art: Towards a Conceptual Militancy'.
The aim of the work is to play with the unease felt by the audience, watched by the ever-increasing presence of security technology and their complicity within it. Within the unique island structure of Venice
and during the opening events of the Venice Biennale this should be particularly effective.
series of fast public surveillance performances will target high visibility
areas. Locations will include: San Marco Square, Ponte di Rialto, Ponte
Accadamia, Santa Margerita square, Santa Maria Della Salute,
Viale Giuseppe Garibaldi, Via Garibaldi.Later at the exhibition "Jump into the Unknown", part of the 56th Venice Biennale.
A video is shown as part of an installation. Made from material shot when the performances where taken place, as if taken from a security camera's, 4 shots on one monitor.
The monitor standing on a pile of the Black Flag publications.
The title of this publication derives from the injunction which the office of the Biennale di Venezia issued to the artists during the process of gaining permission to feature the work as an official Biennale event.
Our performers could fly a flag in any colour, so long as it wasnt black.
The content of the publication: the rights of citizens when arrested in the 83 participating countries of the 56 Venice Biennial.
With thanks to: NDH, Peter Delwel, Antti Tenetz.
With support from: Gemeente Den Haag en Stroom Den Haag