IFP Sessions #4: Hans van Houwelingen


On November 24, the Institute For Provocation here in Beijing will host a talk by the Dutch conceptual artist and sculptor Hans van Houwelingen.

Hans van Houwelingen mostly works within the realm of public space and his artworks often take on ideological contradictions and ambiguities, representing them in a physical form.

Feel free to join us at the IFP Studio, heizhima hutong 13 at 6pm. More information about the artist here.


The talk was very interesting and lead to the eventual interruption of the presentation as a discussion over one of the works (proposal for a memorial for guest workers in Rotterdam) became extensive. Indeed the conceptual nature of Hans' works are open to interpretations and criticism of various kind, and I definitely enjoy the way he discusses the meaning of things, rather than their formal attributes.

Below some photos of the talk.


Yesterday a long awaited book was finally delivered to our door: CHANCE from the series Documents of Contemporary Art (MIT Press, 2010). Compiling texts on  20 or so conceptual artists that all have worked with the unpredictable as a main driver of the work, the book narrows down the concept of chance to a few - shall we call it - case studies. The most reoccurring artists Marcel Duchamp and John Cage fail to surprise me. Needless to say, the importance of the former is monumental. The fact that Duchamp held an all-embracing attitude towards chance is perhaps the most prominent aspect of his work. Cage, on the other hand, is still quite unknown to me, and I am looking forward to getting a broader sense of his works and impact. For my part, the concept of chance remains quite important. In the projects I have developed in the past three years I have left part of the design to chance with, shall I say, mixed, but predominant success. It is with this in mind that I aim to look deeper into the art(y) references to understand the potentials of chance as an ingredient in an architectural exploration.

Below are some images from my thesis project LINE-POINT-FIELD where I used a Drawing Machine - essentially a table with a number of acrylic plates and a projected mounted at the bottom -  to distort and reproduce my original drawings. As a strategy to achieve a level of complexity that would be difficult to design, this tool did what I wanted it to. Bringing the table into the photo lab, I allowed the force of light to play a role in the process. Despite not using the drawings directly in my project, the logic related to the drawing machine became very important for the further conceptualisation.