Jasper van den Brink & Yasmijn Karhof.

Jasper van den Brink

* 1968 in Leidschendam, NL,

lebt und arbeitet in Amsterdam, NL

Studium an der Gerrit Rietveld Academy in Amsterdam und am Art Institute of Chicago, IL


Ausstellungen [Auswahl]:

2012 Big Art For Children, Museum de Paviljoens, Almere, NL
Now I Lay Me Down To Eat, Kunstvereniging Diepenheim, NL
2011 Kunst aan de Schinkel, Soledad Senlle Art Gallery Amsterdam, NL
2008 Usf Verfet, VESSEL Script presentation, Bergen, NOR



Yasmijn Karhof

* 1974 in Edam, NL

lebt und arbeitet in Amsterdam, NL

Studium an der Gerrit Rietveld Academy in Amsterdam mit einem Aufenthalt an der Cooper Union School of Art in New York, NY


Ausstellungen [Auswahl]:
2011 42 – 24h Off Screen , Fuoricampo Gallery, Siena, ITA
Beeldende kunst uit acht waterlandse collecties, Museum Waterland, Purmerend, NL
2010 Rood, Tropenmuseum, Amsterdam, NL
Radio Rood, Scarlet Woman , Museum Boiijmans van Beuningen, Rotterdam, NL


Date: 2012
Length: 21:00 min.
Format: 16:9
Specifications: Colour, Sound, Three Channel
Courtesy the artists



„Vessel“ (engl. für „Schiff“) beginnt wider Erwarten nicht auf einem solchen, sondern mit der Aufnahme eines Mannes auf einer Wiese. Er fängt an zu laufen und das Geräusch von brechenden Ästen ist zu hören. Plötzlich fällt eine Orange von einem Baum, kullert über den Waldboden und der Mann beginnt, ihr durch den Wald zu folgen. Als die Orange über einen glänzend schwarzen Boden rollt, wechselt die Szenerie an Bord eines Schiffes. Auf dem menschenleeren Schiff erkundet der Mann verschiedene Räume: das Deck, ein Beiboot und die Außenwand. Die Kapitänsetage, ein Labor und die Küche werden durchschritten. Im Maschinenraum schließlich erscheint das Motiv der Orange erneut. Der Mann beginnt sie zu schälen, wobei die weggeworfenen Schalen nicht auf dem Boden des Schiffes, sondern wieder auf dem Waldboden landen und so zurück zur Ausgangsszene führen. Der Loop beginnt von Neuem. „Vessel“ ist als Drei-Kanal Installation konzipiert. Die unterschiedlichen Einstellungen ermöglichen es, die einzelnen Szenen aus verschiedenen Perspektiven zu betrachten. Es entsteht ein Panorama aus Einzelbildern, wobei die Anordnung der Bilder und die Zuordnung des Tons einer linearen Handlungsabfolge entgegenlaufen.

Carola Schmitt





► 1. Your work has been chosen among over 2000 festival entries to participate in VIDEONALE.14. In which context do you prefer to present your work, festival/cinema context or exhibition? And what kind of difference does the respective mode of presentation mean for you / your work?


Most often our work is shown in an exhibition space context. This offers the possibility to create an own viewing format, one that suits the work and the underlying concept. The way our work is presented is always precise; it has to fit like a hand in a glove. In our separate work and joined work we often challenge all of the visitors’ senses. We aim to engage the spectator both mentally and physically and intend to create an intensified experience of the tangible world. Vessel tells a story in purely visual imagery. The leading role is played by a ship. Vessel is a twenty-minute video loop that tells a circular story: The end leads to the beginning. Vessel is a mixture of fantasy and reality. The installation uses three projection screens to create a realistic, bodily experience. For example the images of an undulating horizon, which heaves so vigorously that it almost makes you seasick. On the other hand the projections sometimes presents the same subject or action from three different angles. These different impressions of the same situation are shown on multiple screens. In Vessel we investigate how we experience the perceptible world.



► 2. Art can be seen as a mirror that registers and reflects life or as a tool that transforms it. Is there a particular theme, concept or problem your art addresses the most?


Our aim in this work is to show the world the way we perceive it -as the sum of countless momentary sensations- and to depict a dynamic experience of the three-dimensional world.
But also we want to go further than this, than representing a three-dimensional subject in two-dimensional space. Seeing is not merely registering impressions but interpretation. We want to show the way our imagination participates in and mediates this complex process. In Vessel, the viewpoint shifts now and then from that of the protagonist, a man in his thirties, to that of the ship itself. Suddenly, in a surprising perspective, you see what the ship sees. As if the ship would have had eyes. In Vessel we want to address the power of things upon our behaviour and upon our perception of the world.

Art critic Anne Berk describes this in her review about Vessel: “Vessel plays with our imaginative powers and investigates the complexity of our relationship to ostensibly inanimate things.”

“People have always made artifacts to improve their chances of survival. An ape will use a stick to get hold of a banana, but humans go further than that. They shape materials into useful objects that help them satisfy their needs, proceeding from stone hand axes to earthenware bowls, then houses, cars and computers. The number of human artifacts has swollen to such proportions that it has created a new biotope, the urban jungle, within which we struggle to survive. Technical devices not only create new possibilities but also shape our behaviour. Are we still the master of things? Or do things dictate our lives? Writers, artists and scientists have shed light on our complex relation with things.” …
“In today’s technological society, scientists too are taking an increasing interest in the role of things. … Many of our implements serve as an extension of the human body. They amplify our powers and our reach, but they also make us dependant. We cannot get by without them, and we develop an emotional bond with the object. So it does not seem too absurd to propose that a ship can be a living being. Can this be the essence of Vessel?” In the most general sense, a vessel is any physical object which can contain or transport something. The title of our work does refer in the first instance to the Norwegian research ship on which we travelled the Barents Sea and which is both the location and the binding theme of our installation. But a vessel is also a metaphor: a container for our interpretations and a projection screen for our fantasies. The question that we propose is: could it be that we are not looking at the ship, but that the ship is looking at us?



► 3. In which way is the video medium an excellent possibility to express your intended subjects, especially in contrast to other media you use? Or do you work exclusively with video?


We both work with different media as well, depending on the subject matter of the intended work. Lately we work mostly with film and video to create installations. I guess because we used to work with mixed media our approach towards video is slightly different. We use film and video to investigate the way we experience reality, to enlarge, isolate and recreate this in installations that challenge all of the visitor’ senses. We aim to create an intense experience. Working with video and film installation enables us to create sculptors that lead the spectator through both space and time.



► 4. If you have the chance to ask the visitors of the VIDEONALE.14 exhibition questions about your own work, what would be your question?


What do you think about the role of objects in your life?

  • Vom 17.2.-02.4.2017 findet die 16. Ausgabe der Videonale ̶ Festival für Video und zeitbasierte Kunstformen statt, mit einer... mehr
  • Videonale Bonn und Video Art Network (VAN) Lagos schließen sich zusammen, um gemeinsam das Projekt „VIDEONALE IN... mehr
  • mit Anderwald + Grond (Wien) Videopräsentation Christine de la Garenne und Diskussion   In Kooperation mit DAS... mehr
Logo Videonale e.V.


Zum Abonnieren des Videonale-Newsletter bitte E-Mail eintragen.


Stay informed on our latest news!