It turned out it wasn't a person, but a situation
series '...and suddenly, all is revealed'
Installation view '...and suddenly, all is revealed'
Installation view Art on Paper (solo booth galerie dudokdegroot)/ BOZAR, Brussels
'Haphazard monsters', installation view at galerie dudokdegroot, Amsterdam
'Haphazard monsters', installation view at galerie dudokdegroot, Amsterdam
Samples of disagreement
'Repulsion'
Crests
untitled
Installation view
untitled
I'm a myth III
untitled
untitled
untitled
untitled
untitled
untitled
'Algorithm corrupted (though sheer comedy, of course)', installation view
'Algorithm corrupted (though sheer comedy, of course)', installation view
Installation view 'Algorithm corrupted (though sheer comedy, of course)'
Da-ta, da-ta
untitled (crouching figure)
Cover girl
Three figures in an artificial surrounding
untitled
three bearded baby's
Group show Loods 6
The foundling
Cry baby
I'm a myth
White sheet
Pop-up
'Gender: a universal language', installation view
Man posing in front of an empty Abri
1980/1999
Picturing the invisible
two figures in an artificial surrounding
Curtains
Scene of murder no. 1 (twisted)
Travesty III
Travesty I
untitled
Mirror no. 2
Straight story
'Square moon', installation view
The pose
untitled (figure seen from below)
untitled (figure seen from below)
Dark-hearted superhero
Vapour
You may grow up to be a fish
The middle place
Installing the show 'The fraud of mister HQ'
'The fraud of mister HQ', installation view
'Op papier gezet, van Daniels tot Dumas, van Schleiffert tot Schoonhoven', installation view
Split - finger mustache
Split - float
untitled (woman holding hand in front of her face)
'The future is old', installation view
'The future is old', installation view
'The future is old', installation view
Dog
The fraud
Th future is old
'How does your garden grow?', installation view
'How does your garden grow?', installation view
Mother and child
Nurse with cup of hot choco
Total recall
Mommy
Mrs. Fisher
Woman bending over
Woman with black bow
Doctor putting on glove
Surgeon
Ohhh!!!
Laughter at the vicarage
Echo
'Let's wonder over yonder', installation view
'Let's wonder over yonder', installation view
Nurse at the bed(side)
A company of three
Smiling man with wounded paw and torn-off sleeves
Headfile
Headfile
'Back then, the world was bigger', installation view
untitled (tree)
The tree, the girl and the swing
Let's wonder over yonder
'Face to Face - Kunstlers selbstportraits', installation view
'Dirty denim', installation view
untitled 5, from the series The teddy-bear conventions
untitled 6, from the series The teddy-bear conventions
untitled 10, from the series The teddy-bear conventions
untitled 11, from the series The teddy-bear conventions
'...and amongst other things: the matter of the teddy bear', installation view
'...and amongst other things: the matter of the teddy bear', installation view
Lady and girl (after 'Mme Reiset and her little daughter' by Ingres)
Woman with washing-up brush and boy
Woman on stool
'Weltschmerz', installation view
Man with hat and boy in coat
Man with knife and boy with curls
'Transistor', installation view
'Transistor', installation view
Boy and militaryman
Boy serving eggs, man smoking cigar
Doctor and young man, 2000
Naakte vrouw, afwasborstel en jongen
f.l.t.r.; Un reveil plein d'horreur, untitled and untilted

Marijn Akkermans Haphazard monsters

The title of the exhibition is derived from the scientific research method in which haphazard samples are used to gather objective statistics. In daily life the data of this type of research are often used to make generalisations which are not legitimate based on the practised research method. The 'objectivity' of science is sensitive to subjective interpretation. But how do we see and question art?

Marijn Akkermans paints on paper in translucent layers of ink. In recent work the artist's emphasis is on the face. Akkermans doesn't work after photographs or models. We see faces of non-existing persons, as the artist works from his 'unconscious'; "Of course, an art work is never completely unconscious. In the process of making an ink painting there is involuntarily my selection and direction. But even though the imagination is rationally directed, I didn't imagine it up front to 'imagine' it in this particular way. Why do I imagine it, and what does the final result stand for, actually?" Akkermans is concerned with the defects of rationality which lie at the basis of our choices, and of which the deepest sources and causes remain hidden. We only have the surface to project on. "To me a drawing is like a pitch - it's a proposal for projection. But projection is like a ghost. As soon as we try to grasp it, it falls apart."

Among other works Haphazard monsters exhibits the series '...and suddenly, all is revealed', which shows variations of faces faded with fear. Gestures and emotional expressions are scrutinized again and again. The faces don't pose, but react. The series of framed ink paintings partly disappears into the gallery walls, causing a suggestion of the invisible and unknowable.

The triptych 'It turned out it wasn't a person, but a situation' shows a grinning man who is looking at us, the viewer. It's an assemblage of a repetitive painted face, which is tilted, stacked and folded. The triptych consists of ten painted faces which are either visible or partially or completely invisible - due to the folded paper.

The artist book 'Expressions of disagreement' consists of original ink paintings of male faces whom express disagreement, contempt or disgust. Unlike the other works these paintings were put on paper with relative ease. It's a more informal study of variations of a certain facial expression. For the composition of this booklet the sheets of paper were painted on both sides, then folded and bound together. This way the technical procedure is a 'conjugation' of multiple faces, causing new variations of the emotional expression. The booklet doesn't have a cover, and it has no beginning and no ending.

Akkermans: "There is a lot written about how we are directed and determined by digital algorithms, but simultaneously our millennia old biological algorithms shape us as well. Our deepest incentives, which are at the basis of our choices, remain invisible in inimitable contingency. 'Granting' meaning to our choices seems haphazard and irrational. Meaning is merely a hypothesis. Is art the ultimate illusion of free choice and imagination? It appears that my choices are not 'free' choices, they only seem to be disguised as such. As an artist, how can I take a stand for what I do? This quicksand is the fundament of my work."