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05.08.2016 | Words by: Mathis Neuhaus.

Steadily, the place fills up. A broad range of music, an even broader spectrum of personalities and, most importantly, ideas inhabit the building now after seven months have passed. Appropriating the modernist surroundings calls for interventions that add something to the already existing groundwork: the simplicity and clarity of the building in the West. Raw concrete, exposed pipes, steel and glass. Embracing it is a possibility, counteracting also. What’s uniting the approaches, no matter their final manifestation, is the dialogue and the willingness to create a correspondence. 

In addition to Het Kunstlokaal, which is still occupied by Children of the Light and their DIAPOSITIVE, the first weekend of August will provide the opportunity of experiencing another work of art in De School. Right next to the garden, Australian artist Emily Hana will set up shop and present her work Newton’s Concerns Over a Black Coat and the Bogey Man (2016). Spending the summer in Amsterdam with a residency at OT301 she inevitably made her way to De School, danced the night away and still had capacities to reflect about the surroundings: “The light in the building is fantastic. You crawl out this black hole and wander through the smoke and sun filled hallways. With my piece, I try to mimic the different light situations during the night and morning. My work considers how light changes our perception of a space and how we view things it seemed to fit.” Her piece, that is a structure made of 1 400 folded papers, inspired by a concertina’s shape and various book binding techniques: “I used to do a lot of book binding for artist books. The structure I use is geometric, but can always be adapted and changed regarding the location it is in, so it is also very organic.” Said structure then gets equipped with another layer by having visual projections mapped onto it. In a period of 30 minutes you can try and relive the light and darkness you have been confronted with in the club, get lost in it again. Emily says: “Something beautiful resonates with everyone. I want the work to have an intuitive impact.”  

Just like De School, paper is not for eternity. Its temporary constitution is in line with how Emily Hana works: “The longest period something I did has been installed was three weeks, the material I use is quite fragile.” In the room, you see the paper and you see the concrete. The contrast between the two materials is evident, but they seem to approach each other without fear of contact. A duet of brittleness and rigidity. And who knows, maybe the fog that inhabits such an integral role in the different parts of the building will also make a cameo.
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