October/November 2000 " Een ruimtelijke verkenning van Exedra"
Tamar Frank and Hugo Lammerink, two visual artists from Hilversum, will transform Exedra in September and October with three-dimensional changes. The rows of windows belonging to the exhibition space give the passer-by an illusion of transparency whilst forming an artificial border at the same time. What is inside, what is outside, what is stable and what is unstable? 'Switch on - switch off' looks for contact with the passer-by during the day and during the night. The architecture will be lit up and lit out, stripped down and covered up. Where does the cultural space begin and end in architecture that is dominated by windows? Exedra has a hybrid shape and a double public function. The exhibitions do not have to compete with a dominant outside world: there is no concrete border between inside and outside. The architectural exploration of Exedra by Tamar Frank and Hugo Lammerink concentrates on the transparent ambiguity. There is no socket where you just plug in the art- plug: it is up to the visitor to switch on and off and to find the elasticity of the changes within the space. " Never switch in: switch on - switch off," Tricky sings.
Tamar Frank studied at the Academy of Fine Arts in Maastricht. In her installations she uses natural and artificial light to create volumes. For ' switch on - switch off ' she will produce two new works: a long narrow passage, a new entrance in the centre of the exhibition space and a liquid opening to look through from two different sides. Hugo Lammerink studied at the Academy of Fine Arts in Enschede. He focuses amongst other things on the readability and meaning of symbols and objects, the identity of a place or situation. The complex on the Langestraat is surrounded by pillars inside and outside. They have a supportive and aesthetic function, but which ideological information do they hide or bear upon them? Tamar Frank and hugo Lammerink involve the actual architecture and the relation to the environment in their three dimensional images. Perhaps the windows have a potential to create a reflecting space for artworks, just like words can, to feed memories and desires. We are talking about a cultural, social and economical border in a state of insecurity.
text written by Phillip van de Bossche