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Exhibitions

Exhibitions

Selective Memory 'Hands'

Rabin Huissen

Date:

29 Mar - 31 May 2024

'A hand placed firmly to steady oneself, a hand that greets, a hand to touch another hand. No gesture is universal, a flat palm raised could signify a goodbye as much as a hello. Each piece in the series emerges from a different location yet retains a ritualistic set of processes as carried out by the artist. Paper that is prepared in the dark of night, covered and then transported in daytime. The action of making the work occurs in a public space, the artist's right hand makes contact with the paper, the paper makes contact with the site. Lastly, the work is washed in the nearest body of water, a fountain, a tap or a bottle to complete the cycle.'

Rabin Huissen (The Netherlands) captures his presence in photograms. His exact location and gesture is most important, each time precisely recorded within a certain time frame influencing the outcome of the final image. A photogram is an early form of photography, in which an image can be made onto light-sensitive paper.

The blueprints are evidences of an intimate body experience, which reflect on a personal encounter based on traveling out of daily life, undressed from social roles or masks. At the same time this event was occurring, on that precise point in time, something else was happening to someone else and the work moderates and connects this simultaneity. By preserving the energy of the moment in that object, the artist's history links to other's peoples history. In this sense, his body is used as a tool for a correspondence on a meta level, which embodies the wish for completeness and the aspiration for wholeness. He inscribes it on paper, previously prepared with photo emulsion which reacts to light. Time is the invisible agent that allows for the reaction to take place and finally the instant is registered. Natural conditions such as the sun, the wind, the temperature, sand, dust and water interfere with the process.

Even within Huissen's two-dimensional works we have the perception of a sculptural object rather than an image, in the sense that they evoke something through its absence. His paper cut-out collages, which re-enact and recount his journeys through urban environments are spectral images of presence, such as the traveling diaries and notations.

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