This evening, two of ONZIJN‘s artists will present their work within the framework of their installations on show at WOW.
19.00 Doors open
19.30 Performance Klaske Oenema
20.00 Screenings Joanne Hakkert
Klaske Oenema will perform a piece in her own unique style, combining music, poetry and imagery with an old-school overhead projector. Around this light source stories develop, sung and spoken, ripped from life in paper and plastic. Klaske is in search of the tipping point – from doubt to feeling secure, from beauty to ugliness, from the collective to the individual.
Joanne Hakkert, represented in ONZIJN with her Programming the Body, screens Martha Rosler’s 1975 short film Semiotics of the Kitchen, which she introduces from the Freudian notion of the ‘uncanny’. Within the same context, she will also show Disney’s Alice in Wonderland from 1951.
About the artists
Oenema is a visual artist, writer and musician, and preferably all at the same time. Sitting at an overhead projector, she accompanies her songs and poems with handmade cut-out images. Her work concerns itself with language, imagery and music, in the form of performance as well as in film and installation. Point of departure is the everyday, which serves as a frame of reference for an enquiry into people’s relationships. Oenema’s performances betray a naivety that is so shameless that they cannot actually be considered naïve. Intuition and suggestion play lead roles and Oenema works from the small-scale towards the associative and suggestive.
Hakkert’s position as graphic designer is unrelated to the limitations of any specific medium; her style and modus operandi can be translated into an interest in the way we experience reality and the wish to analyse these experiences, contextualise them and shape them critically. Hakkert challenges the viewer to look anew at everyday situations, images and objects – as a curator of the gaze.
Programming the Body is a visual and factual research into the packaging of oral hormonal contraceptives. Through the confrontation of the stereotype of the hysterical woman, the symbolism of disciplinary architecture and the history of compliance packaging, the perceived neutrality of the pill package is questioned. Built from older films and documentaries, the film treats the myth of the roaming uterus and masculine patronising; a challenging film with a very personal ending.