eddie d (1963-2055)
Graduated 1991 AKI Enschede, Media Art Department, Holland.
eddie d is the nations first video artist/head gardener and lives in the rural Dunsborg in the Netherlands.
His work consists of photos, short videos, videopoems and video/computer installations and gardens.
Themes are the forms of language, rhythm and the relation between image and sound.
In the videos this resulted in musical compositions in which he uses his almost perfect editing technique to build rhythmical structures with repetition as a striking element. Music is a basic influence; as a formal starting point as well as a source of structures and patterns. His work is internationally considered the standard in this genre of video art.
He is widely known for his video poems, short, single channel, video works in which spoken word and sound are transformed into compositions of language and rhythm. Repetitive gestures and facial expressions are the elements on which these works are build. These have evolved into the de-construction of words and sounds. This transforms into composing sounds from single letters, that would be almost unpronounceable. Examples are "Sonatina", a work of which the structure is inspired by the sonatas of Kurt Schwitters, and “Pas de Deux” in which two politicians perform a choreography for four hands.
The footage for these works are taken from television and film and mr d has a preference for the basic “talking head”.
In his installations eddie d explores single sounds, movements and gestures and likes to show the beauty of everyday objects. The works usually need a visitors participation; he/she has to push a button or step on a mat to see and experience a work completely. Sometimes a work only unfolds itself when it detects a presence at a certain location.
eddie d's choice of images often evolves around every day live. He zooms in on his subjects to isolate them from their surroundings.
The large installation, “Orquesta Revoltillio”, a “multi channel, spatial video-composition”, is a key-work in his oeuvre. It combines his installations with his musical, single channel approach.
At the moment he is further exploring the concept of still life in video/computer installation and made several works with this theme. (see also the works "Stilllife with 7.5 Cookies", "Still Life With Flowers" and Le Dressoir)
These still life have their roots in movie scenes and a photo archive that he build over the past years.
The photos, made during his travels, show a search for the exceptional in the ordinary; table-lamps, furniture and household wares are favorite subjects. eddie d made a several photobooks and does an annual mailing; The eddie d Easter Card. In his photobooks he investigates his daily cups of coffee, coffeetables or the traffic in front of his rural home.
Mr d did several stage projects:
'Soundmovie', a composition for 6 musicians and video, with composer Jaap Derksen. For this, the Netherlands Institute for Media art (NIM) build the 'Toonbeeldklavier' (Image keyboard) for him. With this instrument eddie d's video and sounds could be played live which made it an extra musician on stage thus integrating the visual with the music. This concert was performed in the Stedelijk Museum in Amsterdam and went on tour throughout Europe.
This work was re-made into "H2Oor" for "Orkest de Volharding" and performed in the new "Muziekgebouw aan het IJ " in Amsterdam in March 2005. An updated, open source version of the image keyboards was developed by the NIM.
In 2000 he made two compositions for video and scratcher that were performed once, in Utrecht, Holland. For this he worked together with DJTommy.
With Dutch composer Bas Jan Bollen he made "Point-c", a composition for video and 5-peace ensemble. It had it's premiere at the Holland Animation Festival 2004 and went on tour as part of the live music/animation program "Kijkshock".
In 2006 he worked with composer Jaap Derksen for "Nice and Fresh and Greasy" and the third in this triptych, Cuore, went on tour in Feb. 2009 and for this he worked together with composer Eric de Clerck. The was on tour throughout 2010 and is available on video as part of the "Kijkshock" project.
d also occasionally presents "The eddie d lecture", where he talks about his influences and shows favorite film and tv fragments, cartoons and music clips that relate to his own work. The lectures can also revolve around a specific theme, like the "How To Be An Artist" lecture, in which he shows how to be an artist. He gave lectures at Dutch art schools and in Bulgaria, Romania, Russia and other places (he seems to have forgotten where). Contact him if you want to know if he is available for a fresh one.
The eddie d workshop involves participating in- or making a short video under supervision of mr d. He works with children from age 4, but also with adolescents, adults and senior citizens. Contact eddie d for more info.
eddie d has received several grants from the Foundation for the Arts in Holland (Fonds BKVB) and his shows were financially supported by Dutch embassy's in several countries . His work has been shown worldwide in museums and at video and film festivals. He won a few awards in the past but doesn't compete anymore.
His work was sold for broadcasting to t.v. stations worldwide and his tapes are part of several collections. Video installations were, amongst others, acquired by the city of Enschede and the Stedelijk Museum Schiedam, both in Holland.
He did several solo exhibitions and there were some retrospectives of his single channel work.
Mr d started a fresh 5000 m2 garden in 2013 together with his spouse and is designing and planting this until his fingers bleed. He is currently exploring the similarities between making a garden and making video art. He wrote an essay for an art magazine titled ‘The Garden As Time Based Art’, read it here.
See www.detuinrondom.com for more about the garden (Dutch)
Distributors:
LIMA
Arie Biemondstraat 111
1054 PD Amsterdam
+31-(0)20-389 20 30
HEURE EXQUISE ! (for older works)
B.P. 113
Le Fort, avenue de Normandie
F-59370 Mons-en-Baroeul
France
Tél : +33(0) 320 432 432
Fax : +33(0) 320 432 433
eddie d (1963-2055)
Van stillevens tot gedichten, internationaal niet geheel onbekend videokunstenaar eddie d schroomt niet om deze kunstcategorieën toe te passen in zijn favoriete medium. Hierbij zijn zijn gevoel voor ritme en humor helaas altijd nadrukkelijk aanwezig. Thema's zijn vaak gewone voorwerpen en deconstructie van taal.
In de videotapes heeft dit geresulteerd in muzikale composities waarin, door middel van verfijnde montagetechnieken, ritmische structuren gevormd worden. Herhaling neemt een opvallende plaats in. Het beeldmateriaal bestaat meestal uit kleine gebeurtenissen, handelingen en voorwerpen die algemeen voorkomen. Hij werkt met eigen opnames naast materiaal uit film en televisie.
De onderwerpen variëren van gebruiksvoorwerpen tot praten hoofden.
Zijn videogedichten werden vele malen vertoond en hierin laat d bekende en onbekende ‘talking heads’ zich ritmisch en muzikaal uiten. De herhaalde gebaren en gezichtsuitdrukkingen zijn basiselementen waaruit deze werken zijn opgebouwd. Uit deze lijn zijn onder meer werken met onuitspreekbare, gecombineerde klanken geïnspireerd op o.a. Kurt Schwitters sonates voort gekomen.
De heer d heeft met verschillende componisten samengewerkt aan stukken voor video en live orkest, o.a. Jan bas Bollen, Jaap Dercksen en Eric de Clercq. Deze werken zijn uitgevoerd door Orkest de Volharding en gelegenheidsensembles in o.a. het Bimhuis, het Stedelijk Museum Amsterdam en in diverse zalen in het land. Enkele van deze werken zijn ook op dvd uitgebracht.
Zijn videoinstallaties zijn vaak stillevens die toch blijken te bewegen.
Het onderwerp betreft dan gewone voorwerpen die een nadere bestudering wel kunnen gebruiken en een onverwachte kant van zichzelf laten zien als er een toeschouwer in de buurt komt.
De werken gebruiken meestal een vorm van actie-reactie; de gebruiker moet op een mat stappen of een knop indrukken om het werk in zijn totaliteit te kunnen zien. Soms is ook hun aanwezigheid al voldoende om het werk zich volledig te laten ontplooien.
Deze stillevens vinden hun herkomst in filmscenes en een fotoarchief dat in de afgelopen 25 jaar is opgebouwd.
De foto’s, veelal gemaakt tijdens zijn omzwervingen in de wereld, verraden een zoektocht naar het bijzondere in het gewone. Schemerlampjes en hotel-nachtkastjes zijn bijvoorbeeld favoriete onderwerpen, maar ook een asbak of broodrooster ontkomt niet aan d’s spiedende blik.
eddie d maakt ook graag fotoseries rondom een thema dat nadere studie verdient; zo heeft hij een fotoboek gemaakt met kopjes koffie, gedronken door de jaren heen in diverse landen. Dit boek moest wel gevolgd worden door „Het Groote Koffietafelboek”, een spannend boek met koffietafelfoto’s. Na zijn vertrek uit Amsterdam heeft d een jaar lang op de loer gelegen om voorbijgaande landbouwvoertuigen vanachter zijn raam te fotograferen, hiermee is zijn boek „eddie d landt plat” gevuld.
Ook maakt hij een jaarlijkse paaskaart, die naar een grote groep mensen wordt gestuurd. Heeft u hiervoor belangstelling kunt u uw adres achterlaten bij de heer d.
Sinds zijn verhuizing naar het Achterhoekse platteland heeft d zich, samen met zijn vrouw, tevens geworpen op het ontwerpen en inrichten van de 5000 m2 grote tuin, een interessante ontwikkeling voor een videokunstenaar. Hij is nu de overeenkomsten tussen het maken van een tuin en het maken van videokunst aan het onderzoeken. eddie schreef er voor een kunstblad een essay over getiteld; ‘The Garden As Time Based Art’, lees het hier in het Engels
Zie www.detuinrondom.com voor meer over deze tuin.
Distributie:
LIMA
Arie Biemondstraat 111
1054 PD Amsterdam
+31-(0)20-389 20 30
The garden as time based art.
As a video artist, editing is my mainstay and micro management of time is my weapon of choice. When we started designing and making our 5000 m2 garden seven years ago (together with my accomplice, wife and co-head gardener Heleen) I realized gardening is most definitely a time based art, just like video. Editing is also an important technique when making and maintaining a garden and, just like when working with video, I love doing it.
In gardening, editing means taking out and replacing plants and structures that are in the wrong place. I add and repeat plants to achieve a rhythm in colour and structure. Sometimes they don’t develop the way I planned it or I change the design because it just doesn’t work. (Like one of my teachers, the late Noel Harding, used to stress: always ask yourself: does a work work).
The dynamics of change when working with plants is wonderful. I love it when throughout the seasons you can have plants grow from almost invisible to over 2 m. high. Although the plants may seem invisible in winter, below ground level there still is life and growth, getting ready for next season.
Sometimes I hear visitors (the garden is open for public) talk about a garden like it is an exhibition of plants, but I believe a garden is a lot more than that. There are however some similarities between designing and planting a garden and making an exhibition.
When I make an exhibition as video artist, I think about the order visitors see the works, how they might walk through it and how the works relate to each other in terms of sound, vision and experience. The same rules apply when making a garden, but here you can also use scent and time plays a very different role. In my video works I think in minutes, seconds and frames (I had this rule that the length of a video should not exceed the length of the average punk song unless you have a very good reason). When making a garden, I think in seasons and years. Sometimes it takes many years for a ‘scene’ to get to the image I was looking for.
Funny thing is, in exhibitions I never liked my work to just go on when there is no one to watch it, so I made most works interactive; visitors have to push buttons or stand in a certain spot to activate the work; I want to control how and when a work is viewed. In the garden I like the idea that it lives on, even when there is no human to see it. The garden is a world of its own and has its own inhabitants. I may be the editor but without me the work just keeps on developing itself. All ideas I carry out in the garden are by definition temporary; change is a constant.
My most conceptual garden area is ‘De Tweemetertuin’ (The Twometergarden). In this area most herbaceous plants grow up to two meters high in one season. These are the plants that usually are placed in the back of a border but I want visitors to look them in the face.
I use the dynamics of the seasons to get a constantly developing image. In early spring, the low season, you can overlook most of the garden and see a structure of shrubs and skeletons of perennial grasses. In the ‘high season’ you walk through a wall of plants you can’t overlook but sometimes you can peek through the living curtain and see what’s behind it. In early fall things already are starting to get more transparent and in winter a lot dies back and you can overlook more of the garden, again leaving the structure of skeletons, shrubbery and paths.
It’s great when tall grasses or transparent perennials like Cephalaria gigantea reveal what’s behind them if you look through them, when a large Calamagrostis acutiflora‘Karl Foerster’ together with an Aster ‘Speyerer Herbstwoge’ blocks the view so you can’t see what’s around a corner. I feel excitement when you take a narrow path and have to squeeze between two meter tall Eupatorium, Thalictrum or a Sanguisorba ‘Cangshan Cranberry’ that has its cylindrical spikes of deep maroon flowers at eye level. (I can use a plant not only because of its characteristics but also because I love the name, and there are some strange names in the plant world).
After three years the Twometer concept is mostly starting to work to a gratifying extent. I can’t wait until I have to start editing again because a plant refuses to stick to the plan.
See the garden at www.detuinrondom.com or our instagram @tuinrondom.
My video work is at www.eddied.nu
eddie d 2020