STUDIO CHEEREDSATIRE

Studio Cheered

22 juni 2021 - The sediment of life

Materials: poles, sand Beeld Tjeerd Posthuma
Materials: poles, sandBeeld Tjeerd Posthuma

I felt the need to say something about people who keep their back straight against all odds in life. Two poles buried in the sand. We chose sand as a symbol for all the minor incidents that add up to one major burden. Sand hurts in a strong wind, it irritates the skin and the eyes and afterwards it turns up in the smallest folds of your skin. The poles, even though the metal has eroded a little, stand strong. Strong, but fixed. Every day you stick to your believes, it becomes a little harder to give them up.

In the back on the left you can see another pole, buried deeper in the sand. Both of them seem isolated, far from each other. It reminds me of my former best friend.

15 juni 2021 - Dance of the virtues

Materials: downspout, tubes, cables
 Beeld Tjeerd Posthuma
Materials: downspout, tubes, cablesBeeld Tjeerd Posthuma

Two tubes crawl up from the ground like worms on a rainy day or like snakes around a tree. A reference is made to Adam and Eve. The colour red traditionally signifies ‘lust’ and ‘war’, whereas blue is associated with ‘innocence’.

The blue tube seems resistant to the red one, yet bows down to her a little. Their exteriors are not touching, but there is a clear connection through the cable, as if in conversation. In more recent history the colour blue has gained connotations of ‘sadness’ and of ‘being alone’. I think of ‘being blue’ as punishment for the modern sin that seduces so many of us: innocence. And look at it here: are ‘sin’ and ‘virtue’ really that different? I don’t think so. The question is: which one will seduce you?

1 juni 2021 - The darkness over the surface of the deep

Materials: soil
 Beeld Tjeerd Posthuma
Materials: soilBeeld Tjeerd Posthuma

For Malevich, The Black Square was the starting point for everything. Here at Museumplein, at the heart of Amsterdam’s arts scene, lies my Black Square. Juicy soil is spread brusquely into every corner. Little pools of water emphasize the fertility of this fallow land between harvesting and sowing. It is overwhelming.

The title mentions a quote from Genesis 1:2: The Story of Creation in the Bible. In it, the earth is described as formless and void. Or as I would say: unclear and unnecessary. Nobody asked for the earth just as nobody asked for life. Yet here we are and now we desperately need both. It is what art is in a nutshell. Who knows what else might be revealed from these depths?

18 mei 2021 - I like, to protest

Materials: fence (steel), fence (plastic)
 Beeld Tjeerd Posthuma
Materials: fence (steel), fence (plastic)Beeld Tjeerd Posthuma

I am part of a generation known for its passive activism. We don’t march the streets, we give likes and we share things on Facebook or Instagram, as if it were the same. This installation depicts this feature of my generation. We see a fence pushed against another, older fence. Where one would expect a human being, we see only a (literal) border. It’s the border doing the protesting. Screaming red with white accents, it suggests a state of emergency. The yellow legs look like fallen traffic cones, predicting the chaos that might come from protesting.

Normally these type of fences can be linked together to stand strong, as you can see on both its sides. But this one is standing alone and is very easy to pass by and forget.

4 mei 2021 - What happened to you in all the confusion?

Materials: shopping cart, garbage bags, shopping bags, box (cardboard), newspaper
 Beeld Tjeerd Posthuma
Materials: shopping cart, garbage bags, shopping bags, box (cardboard), newspaperBeeld Tjeerd Posthuma

Here we see a crib with a swaddled child just visible above the bars of the bed. The cardboard box is a reference to Moses in the straw basket. The baby is lifted by a garbage bag and a shopping bag. Lifted, or pushed upwards far enough to tip it over the edge? That is up to you. Using a shopping cart to portray the crib is a bold move that could lead to confusion. Some people might think it is a statement about the Berlin Wall and capitalism. We chose all objects for their rough, urban looks and the shopping cart had the extra advantage of wheels, suggesting the ability to rock the baby. For me this piece is about tenderness.

27 april 2021 - Small souls

Materials: concrete, leafs

 Beeld Tjeerd Posthuma
Materials: concrete, leafsBeeld Tjeerd Posthuma

Here we see a little pole shaped like a gravestone. The yellow paint on the concrete has faded, suggesting the tests of time and the elements. Leafs, also in faded yellow as if peeled off the pole, are spread around like debris or like the reflecting lights coming off a disco ball. I like how the two materials resemble the polarities ‘nature’ and ‘culture’.

Some people think Small Souls makes an allusion to the famous novel series by Louis Couperus. They interpret the ensemble as a depiction of the relationship between bourgeoisie and elite. But actually it was drawn from my personal life. I only wanted to say something about an old memory, and how it throws a light or a shadow on everything. Which is why it is located in Enschede.

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