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BEELD
film, installation
35’11’’
In 1996, the Chinese Buddhist statue Zhanggong was acquired by a Dutch collector. A mummy of a monk, that had died 1000 years ago was discovered inside. After this finding, the statue began its journey of being examined in a hospital, exhibited in museums, and stored at the collector’s repository, further complicating its role as a Buddha, a mummy, an artwork and a commodity. A few years later, in Tampa, Florida, people gathered in front of a finance building, to pray to a mysterious image of the Virgin Mary that appeared on the steamy window of the building.
Imagining the journey of Zhanggong and looking into the shift of value of a migrating religious object in different context and spaces, Beeld, as it both refers to “statue” and “image” in Dutch, discusses the iconography ("造像")of Zhanggong -- how his image is molded, constructed and manifested, and the iconography of moving image -- how the cinematic image can be constructed through neuro and mind, and how it can form beyond its signifiers.
Please email me for screener.
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installation view, 2024
Offspring: Underbelly, De Ateliers, Amsterdam, the Netherlands
photo by Gert Jan van Rooij
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Tampa
plastic film, vinyl sticker, 3783 x 2334 cm
Tampa presents an image possessing the liminal form of Mary and a sitting Buddha. Over the period I have been thinking of how the studios of De Ateliers resemble the hall of a chapel with its 7-meter height ceilings and shape of windows. A point of view of looking up becomes a metaphor that recalls religious gestures of believing, and spatial relationships between prayer and god, often mediated and fulfilled by the religious icon.