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Zeelab#5 Landscape Observations

| 2018-10-14 22:56:01



icw Tiemen Cocqyut, Irene Kopelman, the arists, designers & Satellietgroep (EN)
Special: Share your estimated guess how many bricks artist Sachi Miyachi counted!


Date: Sunday November 18
Free admission on Noivember 18!
Though the event is indoor, the dresscode is outdoor as it may be cold inside!

14:00 - 18:00 Exhibition open
14:30 - 17:00 Workshop Landscape Observations by Tiemen Cocquyt (curator, Rijksmuseum Museum Boerhaave) & artist Irene Kopelman & the artists and designers of Climate as Artifact
17:00 Outcome of the estimated guess of the amount of bricks Sachi Miyachi counted at Electriciteitsfabriek.
18:00 Close of the exhibition.

Midden in de tentoonstelling "Climate as Artifact - Klimaat als mensenwerk’ organiseren we een middag waarbij dialoog centraal staat. Gedurende 12 jaar ontwikkelde kunstenaarscollectief een werkmethode genaamd EXPLORE, COLLECT, SHARE & LEARN. Voor Climate as Artefact - Klimaat als mensenwerk startte de Exploring-fase met het uitnodigen van 17 kunstenaars en ontwerpers om hun fascinaties voor tijd en ruimte te delen. Volgend op deze fascinaties zijn er nieuwe werken ontstaan ​​en groeide het netwerk van geëngageerde wetenschappers en publiek tijdens de Collectiefase. Op 18 oktober openden we de tentoonstelling en begon de Sharing-fase, met een publieksprogramma van expedities, seminars, rondleidingen en meer.

We zijn trots om u uit te nodigen voor de Learning-fase. Tijdens de Finissage op 18 november nodigen wij u van harte uit om deel te nemen aan de Workshop Landscape Observations.


In the middle of the exhibition we invite you to join this dialogue of arts, science and society.
During the past 12 years, artists collective Satellietgroep has developed a working method called EXPLORE, COLLECT, SHARE & LEARN.
For Climate as Artifact, the Exploring phase started with inviting 17 artists and designers to share their fascinations for time and space. Following these fascinations, new works evolved and the network of engaged scientists and audience grew during the Collecting phase. On October 18 we opened the exhibition and started the Sharing phase, with a public program of expeditions, seminars, guided tours and more.

We proudly invite you to the Learning phase. During the finissage on November 18 we warmly invite you to join the Workshop Landscape Observations!


Learning by doing with observational instruments
Tiemen Cocquyt and Irene Kopelman

In this workshop, Cocquyt and Kopelman sketch how their respective work has led to a better understanding of optical instruments for observation. Cocquyt leads the audience through the history of science, and elaborates on the period in which optical instrumentation entered the methodologies for knowledge production. When did this take place? Was the introduction of optical instrumentation self-evident, or did a usage context develop hand in hand with the earliest innovation on these instruments? The story revolves around the telescope – the first ‘philosophical’ instrument that augmented human perception – also the microscope and camera obscura are discussed. Next, a shift is made towards more recent developments, in which a radically different mode of observation emerged in response to new types of instruments being developed. The main argument is that optical instruments should be studied and understood within the cultural context in which they first emerged.

Kopelman takes this message further by sharing her work on the ‘graphic telescope’, a rare instrument that answered to two of the draughtsman’s basic needs for in situ drawing: the ability to trace the outline of forms (comparable to the function of a camera lucida) and that of bringing far away landscape vistas closer to the eye (telescope function). The graphic telescope not only emerged in the middle of a shifting notion of what an observation instrument was, but also saw the light in period characterized by a far-reaching institutionalization of the sciences and hence, an increasing isolation of science from artistic practice. It leads to an interesting question: for whom was the instrument produced? Kopelman argues that, not only does the graphic telescope call for a more thorough historical study, but above all that actually putting the instrument to use is imperative for unlocking the experiential knowledge embodied in the instrument, and for grasping the working methodologies that it produces.

After the presentations, replicas of optical instruments will be made available for usage, so the sketched developments can be experienced in real life, and as a source for triggering discussion.

Tiemen Cocquyt (born 1981) is curator at Rijksmuseum Boerhaave in Leiden, the National Museum for the History of Science and Medicine. He studied Physics and History and Philosophy of Science in Utrecht. His research focuses on optical technology from the 17th and 18th centuries. Some time ago this involved the discovery and identification of the Netherlands’ oldest telescope, a little spyglass manufactured in Delft around the 1630s.
More recently, he has been putting Leeuwenhoek microscopes in a nuclear reactor in order to unlock the 'secret' lens production techniques of these artefacts.
Cocquyt is an ardent promoter of scientific instruments as historical documents in their own right. Making use of the museum collections, he previously developed workshops on historical microscopy and on 17th-century color  experiments for university students.

Irene Kopelman (born 1974) is an artist who holds a Doctorate of Fine Arts from the Finnish Academy of Fine Arts, Helsinki/MaHKU, Utrecht Graduate School of Visual Art and Design, Utrecht. Originally from Argentina, Kopelman moved to the Netherlands in 2002 to participate in a residency at the Rijksakademie van Beeldende Kunsten, Amsterdam.
Her practice entails collaboration with several research institutions such as The Royal Netherlands Institute of Sea Research (NIOZ), The Netherlands, (2016/2017);Smithsonian Tropical Research Institute (STRI), Panama, (2012/2016 ); Manu Learning Centre, Peru (2012), Naturalis Biodiversity Center, Leiden (The Kinabalu / Crocker Range Expedition 2012 and ‘Chiral Garden’, La Verriere Fondation D’Entrerprise Hermes, Brussels, BR, 2013); Museum Boerhaave 2012 ; World Glacier Monitoring Service, University of Zurich (2013/2014); WSL Institute for Snow and Avalanche Research, SLF, Davos (2013/2014).
In addition, Kopelman has published a number artist books including Three interventions in a space (2003) and Notes on Representation (2006-2018).


During 5 weeks, artist Sachi Miyachi counted the bricks of the Electriciteitsfabriek.
Can you guess how many bricks she counted?
Mail with your estimated guess!
On Sunday November 18 at the finnisage at 17:00 Sachi will reward the one with the nearest estimate of counted bricks with a special artist gift!
> Read more

Photo: Johan Nieuwenhuize


Climate as Artifact - Klimaat als mensenwerk 18.10-18.11.2018
Climate as Artifact is an exhibition program that targets at how redefining climate as a cultural artifact through artistic practice helps us to break free from conventional attitudes in order to establish new and essential perspectives. Climate as Artifact will bring together artists, designers, scientists and society to rethink our perceptions of culture and nature. Curated by Satellietgroep at Electriciteitsfabriek The Hague, with Berndnaut Smilde, Sachi Miyachi, Nishiko, Esther Kokmeijer, Maurice Bogaert, Aliki van der Kruijs, Jos Klarenbeek, Maurice Meewisse, Lotte Geeven, Theun Karelse, Thijs Ebbe Fokkens, Giuseppe Licari, Onkruidenier, Josje Hattink, Masha Ru & more. All previous artist-in-residence of artists collective Satellietgroep, who develop new works and insights during the exhibition program, connecting the arts, science and society.

Artists collective Satellietgroep (The Hague, 2006) explores the sea, coastal transitions, climate change and the role of mankind in these processes in the Netherlands and abroad. In 2018 we rethink our perceptions of culture and nature with artists, designers, scientists and audiences. One of the questions is: Who is nature?

With special thanks to Mondriaan Fonds, BankGiro Loterij Fonds, Stimuleringsfonds Creatieve Industrie, Gemeente Den Haag, Feest aan Zee.
This program is part of the series Zeelabs by Satellietgroep on culture and nature, coast and climate in the context of Feest aan Zee.

See previous editions this year:

Zeelab#4 Global Currents
Zeelab#3 Environmental Literacy
Climate as Game Changer
Zeelab#1 Uptime_


art cultural sea zandmotor water was artist research zee badgast project from with dat scheveningen satellietgroep coastal new artists