Kim de Groot
is a design researcher with an MA in new media. She is part of the lectoraat Communication in a digital age
and teaches new media at the Willem de Kooning academy
Kim's research deals with the inverted relation between image and reality. Moving from representation to the performative,
from the visual to the infrastructural, images are no longer created to represent a reality but to manage it. Kim examines images as informational objects and traces the relations between image, event and media.
Submitted by admin on Wed, 10/13/2010 - 14:36
The museum is a producer of cultural identity, mirroring socio-political changes with its collection policy. But how does this mechanism manifest its own identity in the age of entertainment?
Designer and researcher Kim de Groot investigates the manner in which museums consciously use their stock of art as brand icons. Opening up new possibilities of representation, De Groot offers alternative merchandise for sale to the self-conscious visitor.
Het museum is producent van culturele identiteit; haar collectiebeleid weerspiegelt de sociaal-maatschappelijke veranderingen. Maar hoe profileert een museum haar eigen identiteit in het tijdperk van entertainment? Ontwerper en onderzoeker Kim de Groot bestudeert de manier waarop het museum sleutelwerken uit de collectie gebruikt als beeldmerk. Ze geeft nieuwe manieren van representatie door alternatieve handelswaar te koop aan te bieden aan de zelfbewuste bezoeker.
more to read on the exhibition and participants
Submitted by admin on Mon, 04/19/2010 - 14:02
In many ways, Malraux's vision has become much more than true: Taken literally, today's "Musee imaginaire" will most likely be a sort of semantic museum, a virtual collection of all artworks online, eventually re-arranged in an hypermuseum that is perfectly accessible through the algorithms of a search engine or an encyclopedic approach which sets out to categorize all kinds of predominant styles in art. But to the same extent as a great number of artworks get sort of visible and digitally accessible, more and more material needs to be ignored, marginalized and kept away in a status of uncertainty, unclassifiable and unwanted as such. Supposed to be neither an artwork nor archive material, rejected by the depot as well as the library, those pieces refuse meaning on a meta-level, precisely because they cannot be reduced to metadata. Rather than imagining as if there were real access, an imaginary museum would have to intervene into the struggles for imagination itself. Its most precious pieces would be what could have been easily thrown away without anyone noticing it. (text by Florian Schneider)
floor with originals
The Grey 19 is based on artworks that float between archive, depot and collection. The floor offers an overview with the 'original' works. This is the basis on which we have constructed the website and the mobile, both build on the metadata that these artworks have gathered while being 'housed' by the Van Abbe museum.
Submitted by admin on Wed, 03/17/2010 - 17:16
Saturday 10 April, during the National Museum Weekend, Play Van Abbe Part 2, Time Machines, will open. In this part, utopian museum models of the past and radical historical prototypes will be assessed to find out if and how they can be applied today. How does a museum tell a story through presentation techniques and what are the underlying assumptions? We will be delving into the structure of the museum to examine its foundations, historical and otherwise. The museum reveals itself as a machine that continually produces a past via a mechanism of selection and exhibition: it is a time machine in the literal sense.
Play Van Abbe - Part 2
10/04/2010 - 12/09/2010
Location: Van Abbemuseum
Opening: Saturday, 10 April 2010 16:00
16.00 – 16.30 Speech opening in the auditorium by the major of Eindhoven, Rob van Gijzel and Charles Esche, director Van Abbemuseum
16.45 – 19.30 Tours by special guest guides
18.30 – 19.00 Performance by Spartacus Chetwynd
Submitted by admin on Wed, 03/17/2010 - 17:14
andré malrauxTogether with Florian Schneider who is invited as guest curator for Play Van Abbe I have been working on the museum model of André Malraux, Le Musée Imaginaire, for Play Van Abbe Part 02. As a part of Timemachines, Part 02 of Play Van Abbe, the Museum Modules section presents four studies based on special museum projects from the past. It will open on 10 April and run until 12 September 2010
Central questions of the Play Van Abbe project are:
What is the role of an art museum in the 21st century?
What are the conventions of a museum and to what extent are we aware of them?
How did they develop and are they appropriate today? Can we make them visible? Change them? Play with them?
For 18 months, the multifaceted programme of Play Van Abbe will take the collection and use it to suggest answers to the questions outlined above. It aims to focus not only on the artworks themselves but also on the way we are allowed to look at and to talk about them in a museum. Questions about form and content, copy and original, good and bad are put up for argument. The apparent neutrality of the museum is tested and the relation to exhibiting and collecting art is explored. The history and purpose of art museums in general and Van Abbemuseum in particular are revealed as partial and related as much to ethical decisions about society as to aesthetic choices about beauty and order.
Submitted by admin on Sun, 06/21/2009 - 22:33
I’m examining the relations of the museum with its collection, more specifically focusing on the potential of the digital double for the museum as a unique variant of the original.*1 Studying the digital management of the artwork, I aim to find the museum collection’s potential doubles or even multiple other.
The fact that the artwork is a different image in the context of the museum shop, the museum’s website or in the process of restoration, interests me. These contexts produce different property relations between the museum, the collection, the artwork and its image. Embedded within these relations are multiple representations of an original artwork. One could say, these relations produce an applied and desired image of the artwork. How can these images start to level with the collection's original?
Submitted by admin on Wed, 06/17/2009 - 11:15
The figure/medium relation in the image is a topic I have started to work with in the context of a collaborative .imp project called: The Noise Margin, at the van Abbe museum, Eindhoven. “The image of the medium” is my working title for a project on the decay and restoration of images.
Lissitzky animation, a reconstruction based on the colors of the gaps in the painting. This way the painting itself becomes an image of its decay
When restoring a painting the restorer is constantly managing a noise margin between figure and medium in which the figure gets priority. In a sense through restoration the figure cannot become something else since the medium is constantly being updated by the restorer. While the decay of the medium could potentially lead to its transformation into another object or multiple images. I’m interested in how a disappearing object, the medium, claims visuality. It could be an image…