The monumental architectural constructions, small sculptures, delicate drawings and staged photographs by the Dutch artist Rob Voerman (1966) are disturbing and seductive at the same time. They sketch a perfectly constructed, utopian world with apocalyptic traits, a world that is continually proliferating but is also protected, a world that has broken down but is also rising from its ashes.
In addition, Voerman's work has an important critical component: the central perspective has been abandoned for more points on the horizon, more views, for alternatives. In this way, in addition to an aesthetic, Voerman always performs an imaginary role: there are vehicles for thoughts, vehicles for change, discussion and analysis. Voerman's three-dimensional sculptures and monumental installations are wonders of architectural and tactile ingenuity. They are made up of (plexi) glass, epoxy, wood, cardboard, car parts, textiles, paper, paint, glue and much more. In the monumental works photo slides and films are sometimes shown, sometimes they are places for discussion or retreat. Always a socially critical component is hidden in Voerman's work. The decline of democratic structures, the danger of (neo-) capitalist money systems, the nature of political and other power systems and the major ecological threats that are based on our way of life for the planet - these are issues that Voerman examines in his work, analyzes and - last but not least - visualizes. His work is also a reason to organize collection campaigns for the financing of projects in the local community.
For example, with his fictitious bank building called "The Exchange" on Sonsbeek 2016, Voerman raised money for a reforestation project in Sulawesi and Borneo, and donated work for philanthropic auctions. As different as the material with which Voerman works, so are Voermans's art-historical references. Modernist artists such as Kurt Schwitters and his organically growing Merzbau, the Dutch utopian builder Constant, as well as Richard Buckminster Fuller’s ecologically inspired geodesic domes are important sources of inspiration. 

Some years ago Voerman  started a new body of work, called “Places of Power”, on which he will keep working over the coming years. For this project Voerman build large models of places or buildings related to power (economical, financial, information, military, etc.) He then transforms these buildings by adding his architecture and claddings in, through and around the existing architecture. Though this Voerman often transforms the actual function or context of these sites/buildings. The final works are both photo- and lightbox-works as well as models/sculptures In this on-going project, Voerman in a way comment on the existing power-structures and raises sometimes questions on possible alternative models. 

Related this this are hanging installation which Voerman recently started to make. In these installation Voerman will tackle the complex systems related to geo-politics, ecology, economy, information and power. Part of these installation are the notion of the way these systems are connected and which effects they have to each other. Over the coming years Voerman will further develop these installations through new projects and research.

Rather recently Voerman started an ongoing project in which Voerman connects de-forestation and the rights and situation of indigenous people with the financial system by developing a new currency. The project is in a way be a follow-up of Voerman's project "The Exchange", made for Sonsbeek'16, curated by Ruangrupa. Through large outdoor and indoor site-specific installations Voerman will step by step develop the concept together with indigenous communities from the equatorial forests.


Voerman's work is exhibited internationally: from America to China and Japan. His work has been included in the collections of the MoMA (New York), the UCLA Hammer Museum (LA), the Stedelijk Museum (Amsterdam), the Musée d'Art Contemporaine (Kinshasa), the Generali Foundation (Vienna) and numerous other public and private collections in the Netherlands and abroad.

Artist's statement 'My work is at the heart of society, it both imagines and reflects on it. In addition, I hope my work can serve as a source of change - no matter how small.’









作品はアクリル樹脂やガラス板、エポキシ樹脂、木材、段ボール、車両部品、布、紙、塗料、接着剤など様々なもので作られている。巨大な作品の内部は写真スライドや映像が投影される場になることもあれば、討論の場や隠れ家になることもある。フォーマンの作品の中には、つねに社会批判的な要素が隠されている。民主的構造の衰退、(ネオ)キャピタリズム的な資本主義的貨幣システムが孕む危険、政治的勢力やその他の勢力の本質、私達の生活様式が引き起こしている地球環境への重大な生態学的脅威 。これらの問題を彼はその作品を通して観察し、分析し、そして最も重要なこととして、それを可視化している。彼は自身の作品を地域コミュニティでのプロジェクト支援のための資金調達運動にも役立てている。その一例として、2016年開催のソンスベーク展(Sonsbeek)では、「The Exchange」(取引所)という架空の銀行の建物を製作し、スラウェシ島とボルネオ島での森林再生プロジェクトのための資金調達を成功させたほか、慈善事業のためのオークションへ作品を寄贈している。




数年前、フォーマンは「Places of Power」という作品を新たに制作し始め、これからも制作は続けられる。このプロジェクトのため、彼は権力(経済力、財政力、情報力、軍事力など)に関わる場所や建築の大型模型を制作している。そして、それらの実在の建物の周りや内部に彼自身による建築を加え、覆いかぶせることでその建築を変化させていく。これにより、彼はそれらの場所/建築の実際の機能や文脈に変化をもたらす。最終的な作品は、写真とライトボックス、また模型/造形だ。現在進行中のプロジェクトでは、彼はある意味、現存の権力機構を批判し、ある時には有りうる代替モデルについての疑問を投げかける。




最近始めたプロジェクトでフォーマンが行っているのは、新たな貨幣を発展させることでの経済システムで、森林伐採、先住民の権利と状況を結びつけることだ。ある意味、このプロジェクトは、ルアンルパ(Ruangrupa)のキュレーションによる2016年のソンスベーク展での彼のプロジェクト「The Exchange」のフォローアップである。屋外・屋内の大規模なサイトスペシフィックのインスタレーションを通して、彼は赤道雨林の先住民のコミュニティーとともに着実にコンセプトを発展させていく。






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