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An image of a flash shows a fish's tail moving to the left of the frame. Following the form, one can nearly make out the head of the fish, directly facing the camera lens. The fish floats in the centre of the frame. At the lower part of the frame, speckles dot the surface of an aquarium.
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A Japanese screen is shown, an attempt has been made to depict the reverse side of the screen. The screen displays chrysanthemum flowers. Photographed behind glass, the screen reflects additional images of the museum space, that reveal other vitrines.
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A washed-out black-and-white image depicts a figure running along the right side of the frame. In motion, the person moves towards the left side of the image, causing their image to blur. The ground is layered with strong shadows and bright spots of light.
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A cloud of steam engulfs a car as it drives through the cloud. The image captures the front of the hatchback disappearing, whilst the back remains visible to the viewer. On the upper left of the frame, an electricity pole can be made out with electrical cables also extending into the haziness.
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Japanese screens depict chrysanthemums and other vine-based flowers. Museum glass causes reflections in front of the screen. The image contains a lot of grain, causing the flowers to be hard to disern.
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A roll of tape peaks through a bag, the bag sits on a floor of a former textile mill. The floor has had a 'leather' texture 'motif' rolled into the concrete. Preventing slippage on the factory floor. A luggage tag falls onto the floor from one of the handles of the duffle bag. On the image are the words 'KODAK' with the frame number (8) burnt onto the image.
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A small child (the artist's son) helps install a new exhibition. In his hand is a paint brush which he is using to paint a storage box. In front of the child is a desk in a gallery. Filled with a laptop, glasses, cups and a cutting mat. In the background a cracked window opens up to a wintery day with leafless trees.
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A series of small clouds painted in a soft-brush style create a mottled pattern over the image. In the background a person is seen in the glass reflection of the image, who hovers with a camera up to his face.
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A table wrapped in bubble wrap, shows the surface during the installation of an exhibition. A range materials have 'accrued' on the table, during the installation of an exhibition. Boxes containing photographs, gloves, paper towels, hammer, tin snips, books, catalogues, a thermos and finally glasses stacked within other glasses. In the lower section of the frame, a bin has begun to overflow.
Selected work
- In Our Real Life (Embers) (2024)
- Untitled (Not Now, Not Quite) (2022) Laser Animation Dimensions Variable
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Untitled (Swathes) (2022)
Wool Flannel, silk grosgrain,
silk ‘twist’ thread, nylon,
polished metal hardware.
285cm x 285cm x 3 -
In Our Real Life (Waves) (2021)
Jason Hendrik Hansma,
Sander Houtkruijer, Kelman Duran
13 min. short film -
Éclisse III (2020)
Organza, Silver Leaf,
Steel Cabling and Fixtures,
300cm × 300cm × 7 -
Shear I and Shear II (2019)
Polished glass, polished screw,
silver, fiberoptic cabling.
54cm x 7cm - Fetchings (2018) Jason Hendrik Hansma and Jo-ey Tang
- Escliz (2018) Two silver gelatin prints
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Antumbra (Opaline) (2017-2018)
Two handblown glass pieces
71 x 28cm -
Carotid (Opaline) (2018)
Two handblown and polished glass pieces
55 x 4 cm
Jason Hendrik Hansma’s (b.1988) work explores the in-between, the liminal, and the nearly articulate. Drawing from a wide range of references and materials, Hansma’s work deals with standards, architectural, cultural, and physical, along with how works are made outside of standardized norms. For Hansma, a photograph might be created over months, an entire exhibition might happen in ‘transitional spaces’ such as hallways, doorways, or window sills. A hand-stitched curtain slows down an exhibition’s motion, providing a soft cut moved by a slight breeze from outside air or a film focuses on the moment a wave crashes into architecture. Amateur videos of embers recorded from bushfires are cut to chopped and screwed, and textiles from the artist’s ancestors are refolded and formed into new painterly landscapes.In the work, language (and the loss of language) plays a key role in moving through the politics of aesthetics to reconsider the means we use to locate ourselves through and with each other.
Jason was born in Lahore Pakistan, in 1988, completed a Master of Fine Art at the Piet Zwart Institute, and was a participant at the Jan van Eyck.
Exhibitions, performances, readings, and screenings have been included at UNESCO, Bauhaus, Dessau, Maison van Doesburg, KADIST, Frac Nouvelle-Aquitaine MÉCA, Art Basel Hong Kong’s Satellite Program, Eye Filmmuseum, Ludwig Forum für Internationale Kunst, Contemporary Art Centre Vilnius, Centre Georges Pompidou, Parc Saint-Léger Centre d’art Contemporain, Hordaland Kunstsenter, Centre International d’art et du paysage de l’île de Vassivière, Center For Contemporary Art Futura, Jan van Eyck and De Appel among others.
Jason Hendrik Hansma has been a tutor at the Gerrit Rietveld Academie, the Masters Program at the Royal Academy of Art, The Hague (KABK), Masters of Artistic Research at the University of Amsterdam, and was a Rietveld/Sandberg research fellow.
Jason is co-director of Shimmer (along with curator Eloise Sweetman), an exhibition space in the shipping port of Rotterdam. Shimmer has collaborated with and shown over 120 practices such as stanley brouwn, Raqs Media Collective, Ellen Gallagher, Charlotte Posenenske, Theo van Doesburg, Marcel Duchamp, Felix Gonzalez-Torres, PUBLICS, Sarah Rifky, Lawrence Weiner and Louwrien Wijers, amongst others.
Jason has lived and worked in Paris, Berlin, Bangkok, Tokyo, and Amsterdam and currently lives and works in Rotterdam, The Netherlands.
Recent texts/books
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In Our Real Life
New book of photography and essays, published by Shimmer Press 2024 -
Download Here
Say it Right
published by the Gerrit Rietveld Academie and Sandberg Instituut, research fellowship project, 2022 -
Download Here
The Voice that Remains – PUBLICS Helsinki
Published by Lugemik & PUBLICS, 2024 -
Download Here
When it Comes to Certain Songs, Aphasia, the Studio, Abstraction and Disability.
With annotations by Élisabeth Lebovici, Joseph Grigely, and Gordon Hall, 2019 -
Download Here
A Centre Cannot Hold
New publication with a text by Jo-ey Tang, 2020
Forthcoming/Recent
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2024
Biennale De Renava, The Fall of Empires 10 May – 02 November 2024
- 2024
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2024
Salon by NADA and The Community 10th arrondissement of Paris October 17 – 20, 2024
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2024
Every Flower Seems To Burn By Itself, Les Bains Douches, Alençon | centre d’art contemporain, curated by Eloise Sweetman December 2 – Feburary 22, 2025
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2023
Untitled (Drafts) Marwan, Amsterdam 2022-2024
- 2022
- 2022
- 2022
- 2022
- 2022
- 2021
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2021
Towards a Bauhaus School Europe, Dessau
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2021
New Forthcoming Publication with UNESCO, Paris
- 2021
- 2021
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2021
Text for Gordon Hall, Hesse Flatow, New York
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2020
My Memory’s Sky, Salon de Normandy by Shimmer and The Community.
- 2020
- 2020
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2020
A Centre Cannot Hold at Memphis, Linz
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2020
Residency at Villa Empain – Boghossian Foundation, Brussels
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2020
Head With Many Thoughts (with Matter in Flux) Contemporary Art Centre, Vilnius
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2020
Intervention at Eyefilmmuseum, Amsterdam
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2019
Reading and panel discussion at De Appel, Amsterdam
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2019
Reading by Kris Dittel at De Appel for Amsterdam Art Weekend
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2019
‘When it Comes to Certain Rooms’ La Maison Van Doesburg, Paris
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2019
De l’île au monde, Centre international d’art et du paysage Île de Vassivière
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2019
Il est une fois dans l’Ouest, Frac Aquitaine – La MECA, Bordeaux
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2019
State of Transparency, Looiersgracht 60 Amsterdam
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2019
LW/LW with Louwrien Wijers and Lawrence Weiner at Shimmer (curator)
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2019
Residency and exhibition at La Maison Van Doesburg, Paris
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2019
Exhibition at Videotage and Art Basel, Hong Kong
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2018
Exhibition I’m being there, seeing, encounter… Galaxy Museum of Contemporary Art, Chongqing and KADIST, Paris
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2018
New film completed supported by the EYE Filmmuseum
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2018
Fetchings duo-show with Jo-ey Tang at Treignac Projet, France