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De kronieken van talent – bestaat het eigenlijk wel?

2022. Wanneer heb je talent? Je kunt het bovendien pas hebben als het bestaat, maar dat valt niet te bewijzen. In de kunsten is talent een woord dat als poortwachter op de verdeling van middelen toeziet. Het is de kwalificatie die voortdurend vervliegt en precies om die reden voortdurend bevestigd moet worden. Wat is dat ‘talent’ toch waar we het over hebben en bestaat zoiets wel? In dit artikel analyseert en deconstrueert auteur Eef Veldkamp – tevens lichtelijk gefrustreerd kunstenaar – een zevental alledaagse gebruiken van talent.

"Talent is een woord dat om de haverklap geponeerd wordt in de kunsten net zoals een wandelaar kan spreken over natuur als een soort spirituele betekenisgeving. Niemand weet dan precies waar we het over hebben, maar toch begrijpt iedereen het. Wellicht ervaar ik de noodzaak tot het schrijven van dit stuk omdat ik het zelf niet heb en het om die reden dus ook niet ‘voel’, zoals je het bestaan van liefde kan betwijfelen als je niet verliefd bent. Eveneens zou talent net zo goed een sprookje kunnen zijn zoals een item van De Speld uit 2017 op komische wijze bepleit, “Tijmen (15) heeft een CKV-knobbel: Wonderkind heeft zes (!) films bezocht in 2016”.[1] Hier lachen we om, terwijl we de taalknobbel zeer serieus nemen. Veracht ik een van onze gezamenlijke noemers als ik talent betwijfel, net zoals de relativiteitstheorie bevragen vanuit de kwantumfysica ongehoord is? Of en hoe het dan ook mag bestaan, talent als concept heeft desalniettemin een sterke nivellerende functie in de infrastructuur van de kunsten. Je hoeft niet ver te zoeken op de pagina’s van de grote fondsen om zaken te lezen als ‘jong talent’, ‘bewezen talent’ en ‘talentontwikkeling’.Hetzelfde geldt voor de programmering van het gros van kunstpodia, tevens veelal gericht op nieuw talent.[2] Talent heeft dus blijkbaar ook een houdbaarheidsdatum. Waar zouden de gebruikers van deze term het toch over hebben?" Lees verder op: Mister Motley

THE ECONOMICS OF WELLBEING SCARCITY

2022. A short essay on an underlying structure of scarcity that co-produces our experience of wellbeing as well as our treatment of others. In manifests itself through the dictum 'what others gain in wellbeing goes at the cost of mine'.

"Foucault said that our longevity, health and ways of conducting ourselves “have complex and tangled relationships with [..] economic processes”.We eat healthy to prevent sickness, we do sports to lengthen our lives, we quit this and stop that, do everything in moderation, meet friends in a socially acceptable frequency, read self-help books to affirm that we work on ourselves, and study to safeguard our futures. The anthropology of late capitalism can be exemplified by a concern with our own wellbeing.    

 

The stratification of our wellbeing activities produces a sort of “memory of the future”, a fictitious idea of how we could be, a could be that is permanently postponed by our indulgence with surviving in the present. This future is pursued in order to satisfy our perceived social debts: we feel obliged to work on ourselves. We – and with ‘we’ I mean a capitalist western subjectivity – speculate on our futures to a previously unforeseen extent, because the stakes of survival in this hypothetical future have become increasingly higher. When stakes get higher, so do the profits produced by speculating on them, which results in an increased interest in life as the object of investment. By indexing the stakes and risks of life, life itself has become an economical statistic with potentially high interest rates."

Published by Simulacrum Magazine

TOWARDS ENGAGED ARTS

APRIA ArtEZ Press author page Eef Veldkamp essays Towards Engaged Arts 2020

"It must appear to some as a gesture of hopelessness when the arts start to interfere in matters we would otherwise regard as the domain of politics. One would be forgiven for wondering, ‘Is our world in such a bad shape?’ As Adorno affirms, it is in politics ‘nowhere more so than where it [art] seems to be politically dead.’1 Or some might take a different tack and ask, ‘Are the arts so off track?’ that they’re delving into a world that ‘doesn’t want to listen,’ as Hans den Hartog Jager has argued many times. [...]"

 

"[...] In this series of articles, I propose bits and pieces of such hermeneutics regarding this contemporary form of engaged practices, which we can locate in many artistic practices these days. This form of art sees the artwork as a political actor itself. These hermeneutics might be blasphemously named ‘dematerialised aesthetics,’ or possibly, ‘system aesthetics.’ The articles in this series are built upon a re-evaluation of some concepts most dear to the arts’ historical traditions, including all its actors. Here and there, the articles propose new readings of those concepts that would more properly fit with the aims and goals of many contemporary engaged practitioners, building as such on a lexicon of dematerialised/system aesthetics."

Read further on: APRIA, ArtEZ Press

1.   Eef Veldkamp, "Towards Engaged Arts: an Introduction" in Notes towards engaged practices, 2020, (Arnhem: APRIA ArtEZ Press, 2020-2021)

2.   Eef Veldkamp, "Bird's-Eye View of Engaged Practices" in Notes towards engaged practices, 2020, (Arnhem: APRIA ArtEZ Press, 2020-2021)

3.   Eef Veldkamp, "The Location of Art: a Topographical Earthquake" in Notes towards engaged practices, 2020, (Arnhem: APRIA ArtEZ Press, 2020-2021)

4.   Eef Veldkamp, "Reflective and Transgressive Engaged Practices" in Notes towards engaged practices, 2021, (Arnhem: APRIA ArtEZ Press, 2020-2021)

5.   Eef Veldkamp, "Medium-Centrism and Transmedial Thinking" in Notes towards engaged practices, 2021, (Arnhem: APRIA ArtEZ Press, 2020-2021)

6.   Eef Veldkamp, "Realism, Hyperrealism and Transrealism in Engaged Practices" in Notes towards engaged practices, 2021, (Arnhem: APRIA ArtEZ Press, 2020-2021)

7.   Eef Veldkamp, "Roleability" in Notes towards engaged practices, 2021, (Arnhem: APRIA ArtEZ Press, 2020-2021)

8.   Eef Veldkamp, "Help! Help! Help!" in Notes towards engaged practices, 2021, (Arnhem: APRIA ArtEZ Press, 2020-2021)

9.   Eef Veldkamp, "Engaged art Incorperated: front desks en legal entities" in Notes towards engaged practices, 2021, (Arnhem: APRIA ArtEZ Press, 2020-2021)

10. Eef Veldkamp, "Authentically Unoriginal" in Notes towards engaged practices, 2021, (Arnhem: APRIA ArtEZ Press, 2020-2021)

11. Eef Veldkamp, "The Toponomy of the Classroom" in Notes towards engaged practices, 2021, (Arnhem: APRIA ArtEZ Press, 2020-2021)

12. Eef Veldkamp, "The Dimensions of Propaganda" in Notes towards engaged practices, 2021, (Arnhem: APRIA ArtEZ Press, 2020-2021)

13. Eef Veldkamp, "Why so Serious?" in Notes towards engaged practices, 2021, (Arnhem: APRIA ArtEZ Press, 2020-2021)​

14. Eef Veldkamp, "Just Leaving and Other Ways of Saying Goodbye" in Notes towards engaged practices, 2021, (Arnhem: APRIA ArtEZ Press, 2020-2021)​​

15. Eef Veldkamp, "Thingly Things" in Notes towards engaged practices, 2021, (Arnhem: APRIA ArtEZ Press, 2020-2021)​​​

DE ESTHETISCHE CRISIS GENAAMD CORONA

2020. An essay about category mistakes made when addressing the covid-19 crisis, resulting in responses of reification and war rhetorics. Because these responses are based on a fallacy, necessarily sceptical approaches to government policy will come to be.

"[...]Leuke kleurtjes in een sci-fi palet spreken onze verbeelding meer, en zeker op een andere manier aan dan een grijs op grijs microscoopbeeld dat je in het studieboek van een geneeskundestudent tegenkomt. Dat laatste komt natuurlijk veel te echt over, en terecht, want de coronacrisis is een abstracte crisis; een crisis van esthetische aard. We hebben die verbeelding nodig. Bij een hond of een spin kunnen we ons altijd identificeren, al dan in meer of mindere mate – zoals dat met de twee ogen van een hond makkelijker kan, dan de vele ogen van een spin. Het COVID-19 virus gaat nog een aantal stappen verder dan een spin of een hond omdat het virus volledig buiten ons identificatieproces valt. Een spin heeft bovendien nog ogen, een virus niet.

 

Een virus is een niet levend eiwitzakje met deeltjes genetisch materiaal daarin. Het heeft geen poten, geen hart, het haalt geen adem en is eveneens niet geanimeerd. Het doet niets, beweegt niet, maar wordt bewogen en in beweging gezet. Dat ‘ding’ heeft geen levensdoelen, is niet opzoek naar ‘geluk’, en voert eveneens geen oorlog. Zeggen dat het virus geen levend wezen is, maar een object, komt al dichter bij de waarheid in de buurt, en vraagt op die basis al om een andere benadering. En toch is ook dat een verkeerde inschavtting. Een virus komt dichter in de buurt bij een ‘quasi-object’, om een term van de Franse filosoof Bruno Latour te gebruiken.[...]"

 

Lees verder op: Mister Motley

Eef Veldkamp, Rick Veldkamp, COVID-19 model #4, 2020, 3D animatie web square.gif

WAT IS PROTEST?

2020. A lecture in Dutch going through the basic premises of protest as a discourse: what is it important for? What strategies and tactics does it utilise?

In deze lezing licht Protest Supplies Store-oprichter Eef Veldkamp (kunstenaar en onderzoeker) verschillende aspecten van hedendaags protest toe. Zo kijkt hij naar de constitutie van protest in onze democratie, benoemt hij verschillende soorten protest (zoals 'civil disobedience', 'insurgencies', en boycots), analyseert hij verschillende elementen die er vaak opdoemen (zoals het protestbord en barricades) en overweegt hij verschillende strategieën en tactieken die je bij protest tegen kunst komen aan de hand van actuele voorbeelden en kunstenaarspraktijken.

 

"De hedendaagse vorm van protest vindt haar oorsprong in de industriële revolutie en kreeg haar maatschappelijke karakter in de jaren ‘60, maar is sindsdien nagenoeg niet ontwikkeld. Dit is problematisch omdat de samenleving waar wij in leven wél radicaal is veranderd. Het essentiële democratische recht op protest vraagt om vernieuwing. De kunst is bij uitstek het domein om zich hierover te ontfermen, omdat de kunst bezig is met het nieuwe zolang het nog niet nieuw is, met verandering vóórdat de verandering nog moet plaatsvinden. Middels de kunst kunnen we nieuwe vormen van protest ontwikkelen die de realiteit nog niet kent, en deze middels het visualisatie en interventies introduceren."

 

Kijk hiernaast de hele lezing

WANNEER DE DOEKEN VAN DE KUNST SCHOONMAAKLAPPEN WORDEN

2020. Een serie bestaande uit een essay en drie interviews met Jonas Staal, Malou den Dekker en Fossil Free Culture over de inmengingen van politiek en (groot)kapitaal in de kunsten.

"Het is een complexe, morele rekenformule geworden om te bepalen wat de gevolgen zijn van iedere kunstpraktijk anno nu, aangezien er zoveel factoren zijn die nagenoeg altijd meespelen. Je moet geld verdienen, overleven als kunstenaar, je meten aan een globaliserend discours, relevant zijn, interessant zijn, en dat alles terwijl de praktijk die gevoerd wordt een progressief artistiek karakter moet hebben. Zijdelings spelen ook ethische vragen zoals naar de ‘allianties’ van de kunstpraktijk: hoe komt die tot stand, hoe gaat de gevoerde praktijk om met betrokkenen, en zeker niet onbelangrijk, hoe wordt die praktijk gefinancierd? Door het uitkleden van de kunsten, die daarmee precair worden, gaat de deur van de individuele kunstpraktijk steeds verder openstaan voor problematische en moreel onverantwoorde overlevingsstrategieën. Het wordt steeds moeilijker om niet problematisch (gefinancierd) te worden, en de verantwoordelijkheid daarvan komt steeds vaker terecht op het bordje van de kunstenaar.

 

Dit noem ik de ‘economie van verantwoordelijkheid’, die gefinancierd wordt door het neoliberalisme. Denk bijvoorbeeld aan de ‘anonieme’ kopers bij galeries: waarom willen die anoniem zijn? Zou jij verkopen als je wist dat je aan de investeringsmaatschappij van ING, of aan een of andere Saoedische Sjeik levert? Vervolgens: waarom zou dat jou in godsnaam aangaan? [...]"

 

Lees verder op: Mister Motley

RUIS X RIZOOM S1E3: EEF VELDKAMP

2020. A podcast in collaboration with Rizoom - a collective that works with young artists - about some of the backgrounds to my practice in general and the respective solo exhibition at RUIS in Nijmegen where the podcast was recorded. In Dutch.

"Dit is de derde aflevering van de RUISxRizoom special. Melanie Maria en Derk Müller praten met kunstenaar Eef Veldkamp over de tentoonstelling Rel Sell - de (thuis)winkel voor speculatie producten die U nog net niet nodig heeft. Eef specialiseerde zich in kunst en politiek. In zijn werk onderzoekt hij de systemen en structuren die ons leven vormgeven. We praten met hem onder andere over protestborden, een wensput in Haarlem, paradoxen, culturele patronen, politiek en humor. Welkom in de denkwereld van Eef Veldkamp!"

 

"This is the third episode of the RUISxRizoom special. Melanie Maria and Derk Müller talk to artist Eef Veldkamp about the exhibition Rel Sell - the (home) shop for speculation products you just don't need. Eef specialized in art and politics In his work he examines the systems and structures that shape our lives. We talk to him about protest signs, a wishing well in Haarlem, paradoxes, cultural patterns, politics and humor. Welcome to the thinking world of Eef Veldkamp! "

Follow Rizoom on Soundcloud, or listen to the podcast underneath. Their podcasts are in Dutch.

Eef Veldkamp_podcast_RUIS-Nijmegen_Rizoom_Rel-SellEef Veldkamp Podcast Rizoom X Ruis S1E3
00:00 / 51:48
Rizoom X RUIS S1E3 Eef Veldkamp Rel Sell podcast

NAVIGATIONAL TOOLS AND THE TOPOLOGY OF DEBT

An essay about category mistakes made when addressing the covid-19 crisis, resulting in responses of reification and war rhetorics. Because these responses are based on a fallacy, necessarily sceptical approaches to government policy will come to be.

"A fidget is an object with no specific function, besides that they are made to "fidget" with. The fidget is known from the so-called "fidget spinner" but also from the "stress ball". By carrying the pocket-sized object with you and touching it, the fidget helps you navigate through life. This works in the same manner as touching a compass can show you the direction through a landscape, which is a  fidgets is also a "navigation objects". Change the object, change the navigation. Above all, for navigating on - say - the web, we use different object than navigating through a landscape or even through consciousness. So they are small, custom-made navigation objects that 'navigate' you through life through simple repeated touch and tactile practice, just like suddenly feeling the two euros in your pocket, which moves you to buy a snack at the supermarket just around the corner.

 

Some things transcend private human perception simply because they are too big (or too small) for the physical structure of our eyes and other sense to be perceived: so often we see only parts of wholes and complete the rest according to our horizon of expectation. Let alone that some things are difficult to think because of their complexity, such as "the infinite" but also something like "guilt". Nevertheless, we constantly experience these 'things'. Philosopher Timothy Morton investigates such "hyperobjects" and takes the example of the climate. The hyperobject as proposed by Morton is a response to the Kantian dualistic ontology which assumes that there is a hard border between subject and object, which so are fundamentally separated from one another: the debtor loose from debt, the debt loose from our society. All entities singled out and secluded."

Download the entire text in Dutch here

MEMORIES OF IDEOLOGICAL LANDSCAPING, NOT TO MENTION, DAMNATION MEMORIAE

Memories of Ideological Landscaping was published in the June edition of Simulacrum Magazine (year 28, episode 4), underneath a quote from the text, which imagines the myth of Sisyphus not in the classical way of Sisyphus' toiling when pushing up a boulder on a mountain, but what happens every time the boulder comes down. This short essay think through the topographical implementations of creative destruction.

 

"'Myths are made for the imagination to breathe life into them; and as everything that breathes in, it also breathes out: myths are made to breath imagination into life.5 Sometimes the most imaginative way to make something is to destroy some­ thing. Nothing seems more 'creative' to our Sisyphean-era than destruction. It is above all the progressive momentum of iterability - when meaning disintegrates by the destruction of endless repetition - that forces us to sometimes remake the meaning of what is. Hence, we need to follow the itiner­ary of the boulder: there where in its path only the contam­ination of wringing surfaces will be found. Let's follow the trace of destruction, the path in the wake of the decline of the Sisyphean Boulder, and see where it leads us.

 

Sisyphean Landscaping

The disintegration of the necessity for having memory is accelerated when what is remembered remainspresent, so that there is no need for the memory to be cognitively and constantly underscored because the token to that memory still remains. No street is named after a living person; no statue stands of anyone who still does; no perfume is made of a flower that blooms eternally."

Read further: Memories of Ideological Landscaping, in other words, Damnatio Memoria PDF

CAPITALIST NIHILISM AND THE MURDER OF ART

2020. Is book co-authored by philosopher Lukas Meisner that speculatively think through the destructive relationship between capitalism and art resulting in the latter's death

Tragically, the moment art was born it was murdered. The historic avant-gardes performed their jobs professionally – as midwives for stillbirth. Yet, their sublation of art in life was also suicidal, since what they understood as ‘life’ in fact was the undead labour of vitalist capital. Hence, ever since art gives the formula first and foremost for one process: capital’s latest macrocosmic restructuring, which was its burial of the bourgeoisie.

 

“In this sense, the salons of the 19th century werethe last bourgeois refuge of art before it was exposed to learn from Las Vegas. The new centre around which art circulates ever since is not a centre but a constant loss of centres, or circulation itself: capital.”

– from Capitalist Nihilism and the Murder of Art

 

“The chronology of art is turned upside down, for now first an ear has to bloodily fly off before the artwork proper can exist, wonder only what one needs to cut off in order to build an oeuvre? Life itself, obviously, for only when it seizes something as an ‘oeuvre’ can come into existence; only when the body of the artist decomposes in the ground, the body of work of that body can finally be composed.”

– from Life as an Artist After the Murder of Art and Some Reviving Thoughts

You can order the book through this link or read a snippet through this link

THE POLITICS OF NON-FLAMMABILITY

The Politics of Non-Flammability (2019) is a short narrated investigation spoken by a fire extinguisher questioning the condition of its own existence by looking at the political implications of its function.

 

In its search, a context is drawn between two pre-Socratic philosophers. One, Parmenides of Elea, centralised ‘being’ and ‘non-being’, and the other, Heraclitus of Ephesus, criticised that ‘ice-cold’ ontology by introducing fire: the element of change. The fire extinguisher, a pawn of the Parmenidean order, argues that the politics of non-flammability has been build upon the notion of ‘choking fire’ and thus change itself, to prevent its own omni-present destruction which the fire extinguisher explains through the example of burning flags.

 

"Heraclitus of Ephesus, who lived from 535 to 475 before day count, thought fire was the fundamental element of life. That thing, which I must so very much associate with ‘destruction’, was to him the constituent element of all other things to be – even water and air, which it both merely seems to consume. “Fire as a world-shaping force”, Nietzsche commented many years later. Heraclitus believed fire constitutes the omni-present end of the world as we know it, that end that I have to prevent, while though this end allows “an ever-renewed emerging of another world [...]”, which can only happen coming from “[...] the all-destroying world-fire.” [...]"

Read the preview copy hear

GRENSGEBIED: TRANSGRESSIE

2018. Grensgebied is a speculative magazine part of the Union for Transgression. In this episode Veldkamp takes the reader through a genealogy of transgression. In Dutch. 

"Het zieke dier, het onbepaalde dier, het werkende dier – metafysische classificaties van datgene wat ons het meest dierbaar, maar ook het meest onbekend is: de mens. De mens is een eigenaardig wezen. Een wezen dat voor lang gezien werd als zelfinzichtelijk, maar waarvan meer dan eens is gebleken dat als we in onze eigen ogen kijken, we vooral troebel zien. Het is niet voor niets zo wanneer we dicht voor de spiegel gaan staan, om iets met extra aandacht te omlijsten, de lens van het oog het niet toelaat en we troebel zien. De tijd van de metafysische classificaties hebben we daarom in de twintigste eeuw maar achter ons gelaten. Tot dat de natuurwetenschappen en in het specifiek de biologie en de psychologie na eerdere hints van Nietzsche, bedachten dat de mens net zo zeer een dier is. Wel gezegd, een sociaal dier. Een dier dat primair geclassificeerd wordt als noodzakelijkerwijs afhankelijk van interactie met de soortgenoot. We kunnen niet zonder elkaar, is wat voorgeschreven word. Desalniettemin zegt dit niets over A, de kwaliteit van die interactie en B, de manier waarop die interactie plaats vindt. Daar gebruiken we een cultureel construct voor, politiek. Na talloze voorbeelden in de (recente) geschiedenis van een wereld bewoond door zevenmiljard mensen, is de conclusie snel getrokken dat de mens helemaal niet zo goed is in zijn eigen natuur. Juist waar mensen samenkomen gaat het mis. Dit is de conditie van de mens. Evolutie, zou een bioloog kunnen beargumenteren, loopt misschien nog achter op een andere instantie die van groot belang is in het menselijk bestaan: cultuur."

Read further: VvT, Grensgebied vol. 1: Transgressie

ON IDENTITY

A series of revised flags, shimmering the open sky through the cut outs. This work was developed with Eline Michelle Janssen and was presented together with a text that thinks through identity through Wittgenstein (I), oddly. Underneath a short part of it.

 

"[...]So Identity is fluid and ever changing. In fact, we are different than everyone and even a little deviant to ourselves. There is no moment where identities coincide, when they are the same; measured according to adjective eternity. Only so identity can celebrate the pluriform character of life. Nevertheless, identity is often used in a very different way, for example in discrimination where words as Black and White are used. In, ‘Revised Edition’ (left), we tried to undo the symbol of national identity of its adjectives. The words which we have removed are ‘black’ and ‘white’. These are, yet again, word which are used to describe something that does not exist. The real ‘black’ just as the real ‘white’ do not exist. Nobody is black nor white. Explicitly the space in between of these contrast-words is where reality can be found. By cutting out the colours black and white out of the flags something else becomes important again, which accept chaotic and pluriform essence of our world. The empty space is filled with air, the ‘nothingness’, 'the all possible'. It literally opens space for forming the identity you want. It asks you not to conform nor identify with pre-given prepositions; how comforting they may be.[...]"

TOTALITARIAN RUBRICS

Totalitarian Rubric is a study into totalitarian dictatorship; and more importantly, it's relation to democracy. It consists of an academic study into Hannah Arendt's Totalitarianism from which axioms where derived which functions as the premises for the Totalitarian Rubrics.

 

Intuitively we would say that democracy and dictatorship are completely different things. But after reading Plato's book 'the state' I started questioning this idea. Plato warned us for democracy, the form of government which we all so intensely love. He stated that democracy is the only form of government which can, by it's own principles, lawfully transform itself into a dictatorship. Beside Plato didn't like the idea that anyone could become a leader of a country; he feared 'idiots' would gain power in the highest offices. I indulged myself into reading Origins of Totalitarianism by Hannah Arendt. In this book Arendt looks into the contemporary form of dictatorship: totalitarianism. She did this by trying to define and list what makes it different than any other form of government.

 

These differences define what I call the 'Totalitarian Attitude' which is comprised of traits which I tried to distillate from Arendt's Totalitarianism. Afterwards I searched for ways they could fit into the democracy format, resulting in some very confronting conclusions: many of the dictatorial traits are not as dissimilar to key concepts in democracy. To be able to grasp whether we live in a totalitarian dictatorship I made the Totalitaire Rubric, which is a evaluation system by which you can define whether en to what extend you are living in a totalitarian dictatorship. It is applicable to society, work and family. You can buy a paper copy of the research into Arendt's Totalitarianism, which also explains all the questions in the Rubric in print for 7,50 euros at my publisher Wilde Raven

Download the Totalitarian Rubric here. Download the Wat is Totalitaire Dictatuur here.

CONNECTION LOST

Connection Lost is the common denominator for multiple project. First 2015's 'Connection Lost', an empty silent news studio in a barren environment. It alienates the studio from it's news and so draws attention to the aesthetic preconditions in which the news broadcast exists.

 

The second, an academic work called 'The Television News Studio as Starship' (2018), focusses on the decor from which reports on everyday life are broadcast which is anything but ordinary and yet it is often just assumed and presupposed. Being a room-in-a-room, the television news studio is completely shut off from outside ‘earthly’ elements. As the empty area between two sheets of glass that insulate both the space before and beyond. Within this insulate the studio has to simulate the outside elements in order to be tangible. Dozens of lights float just meters above the ceiling of the scannable – that which is seen on screen – flushing it with light and even with which it still remains too dark. The colour of that light, measured in temperature, made as close as possible to the colour of natural sunlight – ‘neutral’ white – and yet it is always reduced to the RGB spectrum. It is always just too warm or too cold. All those high-wattage lights, screens and electric appliances require climate-control air conditioning to prevent the studio from overheating – there are no real windows to open to vent the place. The objects one encounters in the news studio, made of the very same materials as any other object, have an otherworldliness to them for the reason the news studio is a space unlike any others. They surpass normal functionality; the news desk is not just a place to work behind. They are laminated with a malleability which transcends the constraints of materiality; and in that transcendence allows (or forces) the outside world to flow into it. Now if we relate this peculiarly curious-looking place to what it works with – “true ‘raw’ news” – we might indeed wonder what the aesthetic significations of this fully simulated area are on the news objects which flow through it? The news studio, after all, is completely made and controlled. Its aesthetics are technologies, but what are those meant to do?

Connection Lost Eef Veldkamp 2.jpg