Iede Reckman
CV
CONTACT
JIR 7769 - ∞
Higgs
1 1 2 8 29 166 1023 (Polycubes) □
15398
15194
15043
14994
14843
14057
13961 13849 13028
12947 12600-12604 12513 12384 12224 12156-12178 12175 12119
11854 11770 11670 11619 11552 11321 11131-11153 11082
10924 10805 10668 10544 10335
9997 9802-9893 9795 9678 9199
8713 8305 8174 8040
Exhibitions 2024:
June 1 - October Transitie, Kunst in de Heemtuin, Leiderdorp
21 - 22 September Kunstroute Leiden, EST art foundation, Leiden
9 - 10 November Bermuda Open, Maakhaven, Den Haag
On view:
SpantenBouw
Public sculpture Spaarndam, SpaarneBuiten, junction Rijnland-Wetering
Check the location here.
From 2023 to 2026 my art practice is supported by Mondrian Fund
15398Doppelspalt (Double slit)
at the group exhibition 'Bestand und Fiktion' in public rural space in Jamlitz, Germany
This sculpture refers to the double slit experiment in modern physics. This experiment shows that a single particle can be in two places at the same time. This wave-particle duality is often demonstrated with a double slit experiment in which a particle travels through both slits at the same time. This sculpture invites you to take a leap of thought and try to understand this phenomenon.
345x109x230cm / wood, primer
15194Time and again
at the group exhibition 'Changing perspective' at Kunstgarage Franx, Zoetermeer
550x550x230cm / wood, concrete, Lego, roller bearings, motor
photography: Jhoeko
14994Passage-fence
sculpture for Pleasant Place issue 1. Enclosures
40x42x194cm (each) / plaster
photography: Pleasant Place
14057SpantenBouw
public sculpture Spaarndam, SpaarneBuiten, junction Rijnland-Wetering
420x360x630cm / basralocus wood (recycled bollards), aluminum T-joints, steel column base
photography: Jhoeko
13961Carbon storied
as presented at Cargo in Context, Amsterdam
for the group exhibition 'Van hout en de dingen die voorbijgaan'
370x60x225cm / wood (beachcombed at De Houthaven Amsterdam), powder coated steel
photography: Jhoeko
here to read:
the article in Het Parool by Edo Dijksterhuis 'De Houthaven is geen niemandsland zonder geschiedenis' (in Dutch)
13849Plenum
duo show with Rein Verhoef at Billytown, Den Haag
installation view (sculptures by Reckman: Vestigium, Pavilion 1, Pavilion 3;
sculptures by Verhoef: Untitled (glass holder), Untitled (pipe holder), My lady stone, Doorstopper, Rats;
collaborative sculptures: Wall 1-3, Planters, Forever 22)
concrete, ceramics, steel, ceiling tiles, hydro granules, wood, magnets
photography: Jhoeko
"Plenum" is the technical term for the space above a dropped ceiling or under a raised floor; space used for the air circulation of heating and air conditioning systems. In more general terms, these spaces symbolise the functional structures of offices, homes and exhibition spaces that remain out of sight. Working around this architectural condition, the works of Iede Reckman and Rein Verhoef assembled in this exhibition reference or directly present the colour, provenance or usage of elements that are typically imperceptible, obscured or discarded. These interventions turn the ambient world of infrastructure inside out. What was previously invisible now becomes an object on display.
Verhoef's work bears the imprint of the functional logic inherent to architectural settings, such as storage spaces. For instance, the horizontal steel pillar has the inclination to support a sewer pipe and the concrete pedestal is constructed to be lifted with a pallet jack. The structure supports the superposed frameworks of a glass cart, itself another carrier. For Reckman, it is rather the process of creation of the work that is informed by what is out of sight. Vestigium is made from recycled clay and the greenish grey patina of the Pavilions sculptures are the result of dipping the works in a basin of months of leftover ceramic glaze. Their collaborative installation points towards non-aesthetic functional situations. The form and texture of repurposed ceiling tiles (measuring exactly 1/3rd of the 90x90cm of Billytown's ceiling raster) are accentuated by pulling them out of their usual context as cladding material.
The act of foregrounding unspectacular functional elements is extended to the support structures of the exhibition itself. Reckman and Verhoef aim to examine the surrounding elements and framing devices of sculpture. Their undertaking has resulted in the construction of pavilion-like concrete walls which are loaded with sculptural meaning, blurring the distinction between sculpture and scenography. While the pavilion is traditionally an architectural device highlighting the effect of the sculpture it houses, its purpose here fluctuates with every change of angle and turn of a corner. The role of the pavilion here remains unstable (unlike a Dan Graham approach, through which the pavilion itself becomes the primary object of display). The concrete support structures can be considered expressive forces on their own, at the same time they continue to serve the sculptures they encompass.
While the sculptures take up the codes of functionality, the concrete walls of the backdrop play with the possibilities of autonomy as sculptural elements. Conversely, as the sculptures adopt the functional language of elements and processes that usually remain unseen, the function of display is also challenged, rendering both enigmatic.
Laurens Otto
13028Booth 75
Art Rotterdam 2017, representing Billytown
installation view (incl. Higgs 12449, Higgs 12524,Higgs 129xx, Polyominoes in thirteen segments (beech series),
Polyominoes in thirteen segments (perspex series), Untitled 12518, Untitled 12521)
wood, plaster, paints, plywood, perspex, paper, pencil, pen, glass
photography: Jhoeko
here to read: press release
