1. No category

PORTFOLIO JASMIJN VISSER
CONTACT
[email protected]
BACHELOR’S DELIGHT
solo exhibition
October 1st 2015
Museum van Loon Amsterdam
This exhibition follows a 3,5 months residency at the coach
house, located in the back yard of the museum. In this
period Visser researched the Atlas Van Loon and related
atlases. Exactly one year later the resulting works will be
presented in the museum, covering all the 5 rooms of the
second floor with a mixed media installation. The opening
will coincide with a website launch and event elaborating
on the historic topics.
In collaboration with Stefan Schäfer & Tristan Mostert.
Supported by Mondrian Foundation.
IMAGE CAPTIONS
page 1 Bachelor’s Delight
digital sketch website, 2015
in collaboration with Stefan Schäfer
page 2 Bachelor’s Delight
collection of digital sketches, 2015
in collaboration with Stefan Schäfer
PAGE 1/2
BACHELOR’S DELIGHT
PAGE 2/2
UPSWEEP-WHISTLE-BLOOP / BIO DUCK
solo exhibition and performance
Stavanger, Norway, end of 2015
Upsweep-Whistle-Bloop is a project derived from SOSUS,
an underwater sound surveillance system that was deploy­
ed in the 60’s by USA’s National Oceanic and Atmospheric
Administration (NOAA), in order to detect Soviet submarines.
The still active chain of listening posts have since then
picked up many sounds that remain ambiguous. Working
with the list of unexplained sounds Visser and Motland
have created an exhibition concept comprising, amongst
others, a visual score and composition.
Upsweep-Whistle-Bloop will be premiere in Stavanger late
2015 and performed by songcircus.
In collaboration with Stine Janvin Motland.
Supported by Kompnistenes Vederlagsfond.
IMAGE CAPTIONS
page 1
Bio Duck, detail
graphical pen on paper
70 cm x 400 cm, 2014
photograph Boris Baltschun
page 2
page 3
Upsweep-Whistle-Bloop
graphical pen on paper
150 cm x 426 cm, 2014
photograph Eva Fiore Kovacovsky
Bio Duck
graphical pen on paper
70 cm x 400 cm, 2014
photograph Boris Baltschun
PAGE 1/3
UPSWEEP-WHISTLE-BLOOP / BIO DUCK
PAGE 2/3
UPSWEEP-WHISTLE-BLOOP / BIO DUCK
PAGE 3/3
THE FALKLANDS PROJECT
ongoing project
book release beginning 2016
The Falklands Project is part of The Ultraperipheric series
by TAAK and Land Art Contemporary. In 2013 Jasmijn
Visser undertook an expedition to the Falkland Islands,
in order to research the influence that distant political centers have had on the landscape of this remote archipelago.
Visser joined forces with design collective Metahaven in
order to create a database for the research, and explore
alternative forms of history writing. The Falklands Project
released a wikipedia format website in 2014, and will
release a monumental conflict atlas early 2016.
www.thefalklandsproject.com
http://www.volkskrant.nl/dossier-expeditie-falklands/
In collaboration with design studio Metahaven,
photography by Peter Lipton.
Supported by Mondrian Foundation, Land Art
Contemporary, Stimuleringsfonds voor de Kunsten &
Theodora Niemeyer Fonds.
IMAGE CAPTIONS
page 1 The Falklands Project
screen shot website, 2014
in collaboration with Metahaven
page 2
The Falklands Project
Falklands expedition 2013
drop tank on Pebble Island
photograph Peter Lipton
page 3 The Falklands Project
sketch publication
in collaboration with Metahaven
page 4 The Falklands Project
various screen shots website, 2014
in collaboration with Metahaven
PAGE 1/4
THE FALKLANDS PROJECT
PAGE 2/4
THE FALKLANDS PROJECT
PAGE 3/4
THE FALKLANDS PROJECT
PAGE 4/4
PHAISTOS SERIES
The Phaistos Series takes a minoïc clay disk, found
at the site of Phaistos, as a starting point. The disk,
estimated to date back around 2000 BC is about 15 cm
in diameter and covered with stamped ideogram-like
symbols arranged in spiral form. While it is not proven
that it is a script, most attempted decipherments assume
that it is; most additionally assume a syllabary, others
an alphabet, logography, or even the early version of a
board game. The Phaistos Series was presented, amongst
others at Aeroplastics Gallery Brussels 2007, Stedelijk
Museum Amster-dam 2008, and Witte de With Rotterdam
2009, and nominated for the Prix the Rome 2009.
IMAGE CAPTIONS
page 1 Satellites
exhibition view Witte de With 2009
acrylic paint on paper
400 x 150 cm, 2009
page 2 Phaistos
graphical pen on paper
248 x 150 cm, 2007
photograph Gert Jan van Rooij
page 3 Suddenly I lost Control
and my Drawing went to War
graphical pen on paper
248 x 150 cm, 2007
photograph Gert Jan van Rooij
PAGE 1/3
PHAISTOS SERIES
PAGE 2/3
PHAISTOS SERIES
PAGE 3/3
HEAR IT FOR THE BOYS
collectors item
Hear it for the Boys was a commission by kunstbeeld
magazine. It is a digital rendering created with a stereoscopic method. It uses the patterns in a Prokudin Gorskii’s
photograph as well as the three RGB overlapping layers
on the border, in order to create digital glitches. The men
and boys, shown in full color on the picture, dated about
1908 in Samarkand, resemble a familiarity with newspaper
clippings from middle eastern conflict regions. The placement of the imagery of the boys in the magazine adds to
this association. The collectors item was available in limited
edition, and additionally a signature addition entailing an
unique ikat pattern on the back cover.
IMAGE CAPTIONS
page 1 Hear it for the Boys
collector’s item Kunstbeeld
digital rendering
23,70 cm x 17,70 cm, 2011
PAGE 1/1
THE LION GATE
public artwork
Amsterdam city centre
The commission of a public artwork in the city centre of
Amsterdam was given by Ymere in collaboration with Hans
Wagner Architects. It covers a surface over 800 m2 of the
Nieuwe Houttuinen in Amsterdam, a street block designed by
structuralist architect Herman Hertzberger, during the drastic
and controversial rebuilding of Amsterdam in the 1970’s.
The artwork uses the location of the street, close to the
Westerpoort, the gate to enter Amsterdam from the west,
as well as the history of the destruction and reconstruction
of the quarters, in relation to Hertzberger’s views on interconnectedness and community. Jasmijn Visser designed
a line drawing over the columns and penants, that interweaves and transforms from an entablement until a lion’s
paw. Referring to the Lion Gate of Mycenae –in relation
to the Westerpoort– the lines hug the entrances so as to
form individual gates to every building. The line drawing
is designed so that from every viewing point in the street,
an unique transformation can be seen.
IMAGE CAPTIONS
page 1 The Lion Gate
sketch architectural model, 2012
page 2 The Lion Gate
digital rendering and architectural model, 2012
page 3
The Lion Gate
various perspectives
strikolith on concrete, app. 800 m2
photographs Peter Lipton 2013
page 4
The Lion Gate
various perspectives
strikolith on concrete, app. 800 m2
photographs Peter Lipton 2013
PAGE 1/4
THE LION GATE
PAGE 2/4
THE LION GATE
PAGE 3/4
THE LION GATE
PAGE 4/4
INTERVAL SERIES
project and residency
Krasnoyarsk Biennial 2011
The Interval Series were created during a residency in
Borodino Siberia in 2011 on the occasion of the Krasnoyarsk
Biennial. Borodino is a village created during Stalins’ rapid
industrialization of the Soviet Union. It centers around a
large open coal mine, initially dug by gulag prisoners.
Visser spent many days in the coal mine as well as the
village to research the different perceptions on this parti­
cular history, as well as visions on contemporary Russia.
The works are constructed by using a Stereoscopic
method and comprise a collection of drawing, text and
video work. The works and research were presented
at the Krasnoyarsk Biennial 2011.
IMAGE CAPTIONS
page 1Minors Intervals
graphical pen on paper
150 cm x 220 cm, 2011
photograph by Dinara Khafizova
page 2 Random Intervals
graphical pen on paper
76 cm x 56 cm, 2011
PAGE 1/2
INTERVAL SERIES
PAGE 2/2
OCEAN FRONT
project developed during De Ateliers work period
The title Ocean Front is derived from on the booklet
Ocean Front: The Story of the War in the Pacific 1941-44
that was brought out by the British Ministry of Information
in 1945. It is used as the main protagonist in the exhibition.
The installation is a triptych constantly at play between
content and dimensionality; the folding and transforming of
magazine sheets on the screen, the raising of the drawing
as a screen in the room, and the transformation of a threedimensional costume from le chant du rossignol by the
Ballet Russes to the flat wall.
Ocean Front was shown as a solo presentation at
De Ateliers, Amsterdam with a contribution of Belgium
artist Sarah de Vos on Ocean Front Part II.
IMAGE CAPTIONS
page 1 Ocean Front Part I, digital still
stop motion video
20:20 minutes, 2011
page 2
Ocean Front Part I
installation view De Ateliers 2011
stop motion video
20:20 minutes, 2011
Ocean Front Part II
installation view De Ateliers 2011
wall drawing
400 cm x 350 cm, 2011
page 3 Ocean Front Part I, digital stills
stop motion video
20:20 minutes, 2011
PAGE 1/3
OCEAN FRONT
PAGE 2/3
OCEAN FRONT
PAGE 3/3
BAYEUX SERIES
The Bayeux Series is a collection of monumental drawings
that enfold as visual narratives. The works relate to historical
painting/weavings as well as literary structures.
The drawings have been presented, amongst others,
at MOMA Moscow, Stedelijk Museum ’s, Hertogenbosch,
Ka-zan State Museum of Fine Arts and Kunsthal Rotterdam.
IMAGE CAPTIONS
page 1 TZigane
installation view,
Castrum Peregrini Amsterdam 2013
acrylic on paper
150 cm x 650 cm, 2009
photograph Gert Jan van Rooij
page 2
TZigane
acrylic on paper
150 cm x 650 cm, 2009
photograph Gert Jan van Rooij
The Mouth
acrylic on paper
150 cm x 620 cm, 2013
photograph Gert Jan van Rooij
page 3
TZigane, details
acrylic on paper
150 cm x 650 cm, 2009
photograph Gert Jan van Rooij
page 4
The Mouth, details
acrylic on paper
150 cm x 620 cm, 2013
photograph Gert Jan van Rooij
PAGE 1/4
BAYEUX SERIES
PAGE 2/4
BAYEUX SERIES
PAGE 3/4
BAYEUX SERIES
PAGE 4/4