REINIER VRANCKEN

October 16 - November 27, 2022: Wat er gebeurt wanneer er niets gebeurt, De Cacaofabriek, Cacaokade 1, 5707 LA Helmond, the Netherlands

For his contribution (…) inspired by the novel Immortality (1990) by Milan Kundera (…) Vrancken brings into play notions of similarity and dissimilarity (…) It consists of two books on hand gestures, one Dutch, the other Japanese, which have been dovetailed into one another by interleaving the pages. (…) suggests that a gesture shared by different cultures, although formally similar, is sometimes used to convey an entirely different message. (…) the experience of being human carries in it more meaning than can be housed in a single body.

—Nadia de Vries, 2022
For his contribution (…) inspired by the novel Immortality (1990) by Milan Kundera (…) Vrancken brings into play notions of similarity and dissimilarity (…) It consists of two books on hand gestures, one Dutch, the other Japanese, which have been dovetailed into one another by interleaving the pages. (…) suggests that a gesture shared by different cultures, although formally similar, is sometimes used to convey an entirely different message. (…) the experience of being human carries in it more meaning than can be housed in a single body.

—Nadia de Vries, 2022
For his contribution (…) inspired by the novel Immortality (1990) by Milan Kundera (…) Vrancken brings into play notions of similarity and dissimilarity (…) It consists of two books on hand gestures, one Dutch, the other Japanese, which have been dovetailed into one another by interleaving the pages. (…) suggests that a gesture shared by different cultures, although formally similar, is sometimes used to convey an entirely different message. (…) the experience of being human carries in it more meaning than can be housed in a single body.

—Nadia de Vries, 2022
toe of Men NEDERLANDS GEBARENBOEKJE interleaved with 70 Japanese Gestures 2022 200 x 410 x 20 mm
(…) bleeding from another body. Flattened on the wall, the artist cut the speck out of the wallpaper. The piece was reproduced and resized to match the artist's stature. It sounds like magical thinking: the transformation of identity through a wall, by means of the combination of blood and mosquito. By enlarging the bloodspot, Vrancken reappropriates himself. Consequentially, the lack of physical volume of the vinyl sticker barely enables us to define it as a spatial object. A conscious choice, for Vrancken, who situates this merger in an architectural context, one in which the measurements and proportions of the blood spot find new resonance.

—Machteld Leij, 2021
(…) bleeding from another body. Flattened on the wall, the artist cut the speck out of the wallpaper. The piece was reproduced and resized to match the artist's stature. It sounds like magical thinking: the transformation of identity through a wall, by means of the combination of blood and mosquito. By enlarging the bloodspot, Vrancken reappropriates himself. Consequentially, the lack of physical volume of the vinyl sticker barely enables us to define it as a spatial object. A conscious choice, for Vrancken, who situates this merger in an architectural context, one in which the measurements and proportions of the blood spot find new resonance.

—Machteld Leij, 2021
The bleeding into and the bleeding out of vinyl decal 2021 1800 x 1070 mm photography (1) by Charlott Markus
(…) Given such conceptual affinity, it is no wonder that Vrancken was surprised that the Stedelijk Museum Schiedam had a table (with the dimensions 3 x 7.5 x 1.5 sb-feet) made to present a work by brouwn, but had passed it down to the rental company Museumgoed as a functional object after the exhibition. The question raised by this act is where brouwn's work begins and ends. Is it conceptually justifiable to include one object in the collection as a work of art but to reduce its counterpart to utility object despite their shared conditions?

—Manus Groenen, 2021
Untitled disassembled stanley brouwn table 2021 3 x 7.5 x 1.5 sb-foot photo by Charlott Markus
(…) a limited edition mail-out dispatched prior to the exhibition. The project space is named as an homage to the artists and founders Tim Mathijsen and Tirza Kater's friend, Marwan, who left Amsterdam. (…) He employs the marketing and communicating tools of Marwan, and transforms the hosting initiative's narrow flyer into a concert wrist band. (…) it can twice encircle his wrist, or by extension, once around Tim's and Tirza's - the sum of Marwan - as well. (…) Once the band is unfolded, the information is undecipherable from fragments which are made only to be legible in its folded form.

—Christina Li, 2021
(…) a limited edition mail-out dispatched prior to the exhibition. The project space is named as an homage to the artists and founders Tim Mathijsen and Tirza Kater's friend, Marwan, who left Amsterdam. (…) He employs the marketing and communicating tools of Marwan, and transforms the hosting initiative's narrow flyer into a concert wrist band. (…) it can twice encircle his wrist, or by extension, once around Tim's and Tirza's - the sum of Marwan - as well. (…) Once the band is unfolded, the information is undecipherable from fragments which are made only to be legible in its folded form.

—Christina Li, 2021
(…) a limited edition mail-out dispatched prior to the exhibition. The project space is named as an homage to the artists and founders Tim Mathijsen and Tirza Kater's friend, Marwan, who left Amsterdam. (…) He employs the marketing and communicating tools of Marwan, and transforms the hosting initiative's narrow flyer into a concert wrist band. (…) it can twice encircle his wrist, or by extension, once around Tim's and Tirza's - the sum of Marwan - as well. (…) Once the band is unfolded, the information is undecipherable from fragments which are made only to be legible in its folded form.

—Christina Li, 2021
Invitation for Marwan folded digital print 2021 395 x 35 mm photography by Gert Jan van Rooij
(…) a bone comb with two teeth sharpened to points. The work alludes to the many versions of the myth surrounding Cleopatra's alleged suicide. (…) about how leaving a snakebite on your body, real or fake, is a guarantee to a next life. The comb negates the image that the title suggests. We don't see a dew covered flower at all. (…) Vrancken is not only invested in the meanings to which he wants to refer, but also with how he wants to refer to them. Flower, dew (2021) is a complex dance in which Reinier challenges us to search for meanings in all layers of the work.

—Linda Köke, 2021
(…) a bone comb with two teeth sharpened to points. The work alludes to the many versions of the myth surrounding Cleopatra's alleged suicide. (…) about how leaving a snakebite on your body, real or fake, is a guarantee to a next life. The comb negates the image that the title suggests. We don't see a dew covered flower at all. (…) Vrancken is not only invested in the meanings to which he wants to refer, but also with how he wants to refer to them. Flower, dew (2021) is a complex dance in which Reinier challenges us to search for meanings in all layers of the work.

—Linda Köke, 2021
(…) a bone comb with two teeth sharpened to points. The work alludes to the many versions of the myth surrounding Cleopatra's alleged suicide. (…) about how leaving a snakebite on your body, real or fake, is a guarantee to a next life. The comb negates the image that the title suggests. We don't see a dew covered flower at all. (…) Vrancken is not only invested in the meanings to which he wants to refer, but also with how he wants to refer to them. Flower, dew (2021) is a complex dance in which Reinier challenges us to search for meanings in all layers of the work.

—Linda Köke, 2021
(…) a bone comb with two teeth sharpened to points. The work alludes to the many versions of the myth surrounding Cleopatra's alleged suicide. (…) about how leaving a snakebite on your body, real or fake, is a guarantee to a next life. The comb negates the image that the title suggests. We don't see a dew covered flower at all. (…) Vrancken is not only invested in the meanings to which he wants to refer, but also with how he wants to refer to them. Flower, dew (2021) is a complex dance in which Reinier challenges us to search for meanings in all layers of the work.

—Linda Köke, 2021
Flower, dew two sharpened teeth on a comb 2021 150 x 32 x 5 mm photography (1 & 2) by Charlott Markus
(…) is part of an ongoing work in series. The piles of clothing on the floor are on loan. Each pile carries a smell other than its owner's. Emma's smell is in the pile to the left, and her clothes are in the pile to the right. Identity shifts, but only half a place. Every outfit is passed to another individual to be washed, who in turn lends out his or hers, establishing a chain of passed-on clothing and changing smells. A relay of appropriation and expropriation. In Everybody becoming everybody else, Vrancken redefines the borders between one individual and the other. In doing so, he creates the opportunity to propose new wholes. (…) are always strangers to one another, who (…) have the silhouetted Vrancken as their common factor.

—Machteld Leij, 2021
Everybody becoming everybody else Isabel's clothes and Rabin's smell 2020 250 x 200 x 150 mm Everybody becoming everybody else Rabin's clothes and Manus' smell 2020 250 x 200 x 150 mm Everybody becoming everybody else Manus' clothes and Louise's smell 2020 250 x 200 x 150 mm Everybody becoming everybody else Louise's clothes and Bernadette's smell 2020 250 x 200 x 150 mm photo by Luuk Smits
(…) is part of an ongoing work in series. The piles of clothing on the floor are on loan. Each pile carries a smell other than its owner's. Emma's smell is in the pile to the left, and her clothes are in the pile to the right. Identity shifts, but only half a place. Every outfit is passed to another individual to be washed, who in turn lends out his or hers, establishing a chain of passed-on clothing and changing smells. A relay of appropriation and expropriation. In Everybody becoming everybody else, Vrancken redefines the borders between one individual and the other. In doing so, he creates the opportunity to propose new wholes. (…) are always strangers to one another, who (…) have the silhouetted Vrancken as their common factor.

—Machteld Leij, 2021
Everybody becoming everybody else Bernadette's clothes and Sander's smell 2021 250 x 200 x 150 mm Everybody becoming everybody else Sander's clothes and Matt's smell 2021 250 x 200 x 150 mm
(…) is part of an ongoing work in series. The piles of clothing on the floor are on loan. Each pile carries a smell other than its owner's. Emma's smell is in the pile to the left, and her clothes are in the pile to the right. Identity shifts, but only half a place. Every outfit is passed to another individual to be washed, who in turn lends out his or hers, establishing a chain of passed-on clothing and changing smells. A relay of appropriation and expropriation. In Everybody becoming everybody else, Vrancken redefines the borders between one individual and the other. In doing so, he creates the opportunity to propose new wholes. (…) are always strangers to one another, who (…) have the silhouetted Vrancken as their common factor.

—Machteld Leij, 2021
Everybody becoming everybody else Matt's clothes and Rudi's smell 2021 250 x 200 x 150 mm Everybody becoming everybody else Rudi's clothes and Sarah's smell 2021 250 x 200 x 150 mm Everybody becoming everybody else Sarah's clothes and Rob's smell 2021 250 x 200 x 150 mm
(…) is part of an ongoing work in series. The piles of clothing on the floor are on loan. Each pile carries a smell other than its owner's. Emma's smell is in the pile to the left, and her clothes are in the pile to the right. Identity shifts, but only half a place. Every outfit is passed to another individual to be washed, who in turn lends out his or hers, establishing a chain of passed-on clothing and changing smells. A relay of appropriation and expropriation. In Everybody becoming everybody else, Vrancken redefines the borders between one individual and the other. In doing so, he creates the opportunity to propose new wholes. (…) are always strangers to one another, who (…) have the silhouetted Vrancken as their common factor.

—Machteld Leij, 2021
Everybody becoming everybody else Rob's clothes and Emma's smell 2021 250 x 200 x 150 mm Everybody becoming everybody else Emma's clothes and Machteld's smell 2021 250 x 200 x 150 mm photo by Charlott Markus
(…) is part of an ongoing work in series. The piles of clothing on the floor are on loan. Each pile carries a smell other than its owner's. Emma's smell is in the pile to the left, and her clothes are in the pile to the right. Identity shifts, but only half a place. Every outfit is passed to another individual to be washed, who in turn lends out his or hers, establishing a chain of passed-on clothing and changing smells. A relay of appropriation and expropriation. In Everybody becoming everybody else, Vrancken redefines the borders between one individual and the other. In doing so, he creates the opportunity to propose new wholes. (…) are always strangers to one another, who (…) have the silhouetted Vrancken as their common factor.

—Machteld Leij, 2021
Everybody becoming everybody else Machteld's clothes and Émile's smell 2022 250 x 200 x 150 mm Everybody becoming everybody else Émile's clothes and Marjolein's smell 2022 250 x 200 x 150 mm photo by Chantal van Rijt
(…) Vrancken's works are propositions to interpret the amalgamation of conceptual, semantic and poetic leaps and conceptions that are ascribed to seemingly autonomous objects and words around us. (…) The title is borrowed from the final line of Thomas James' poem Room 101 whereby the protagonist narrates how he is slowly turned to stone. Notions of preservation and transfiguration are pushed further when the title is juxtaposed with what is on display: different bottled fluids Vrancken obtained after working with a professional embalmer. (…) the look and feel of marble.

—Christina Li, 2021
(…) Vrancken's works are propositions to interpret the amalgamation of conceptual, semantic and poetic leaps and conceptions that are ascribed to seemingly autonomous objects and words around us. (…) The title is borrowed from the final line of Thomas James' poem Room 101 whereby the protagonist narrates how he is slowly turned to stone. Notions of preservation and transfiguration are pushed further when the title is juxtaposed with what is on display: different bottled fluids Vrancken obtained after working with a professional embalmer. (…) the look and feel of marble.

—Christina Li, 2021
(…) Vrancken's works are propositions to interpret the amalgamation of conceptual, semantic and poetic leaps and conceptions that are ascribed to seemingly autonomous objects and words around us. (…) The title is borrowed from the final line of Thomas James' poem Room 101 whereby the protagonist narrates how he is slowly turned to stone. Notions of preservation and transfiguration are pushed further when the title is juxtaposed with what is on display: different bottled fluids Vrancken obtained after working with a professional embalmer. (…) the look and feel of marble.

—Christina Li, 2021
A hornet tests my sculptured skin embalming formula composed to give the appearance of marble 2021 dimensions variable photography by Gert Jan van Rooij
(…) is part of an ongoing series (…) of interventions on exhibition texts, guides, catalogues and magazines in which Vrancken translates a word starting with the letter a to a word starting with the letter z. (…) every word consists of two parts (…) meaning (…) connotations. In translation, the meaning remains the same but the connotations diverge. (…) The Dutch word anders is translated to zvakasiyana in Shona, spoken in Zimbabwe. In previous editions almost (English) was translated to zamalo (Croatian), aarzelend (Dutch) to zögernd (German) en al (Dutch) to že (Slovenian). The guestbook is exhibited as a work and cannot be signed during the exhibition. (…) this exhibition will be absent from the guestbook: nothing has happened.

—Manus Groenen, 2022
(…) is part of an ongoing series (…) of interventions on exhibition texts, guides, catalogues and magazines in which Vrancken translates a word starting with the letter a to a word starting with the letter z. (…) every word consists of two parts (…) meaning (…) connotations. In translation, the meaning remains the same but the connotations diverge. (…) The Dutch word anders is translated to zvakasiyana in Shona, spoken in Zimbabwe. In previous editions almost (English) was translated to zamalo (Croatian), aarzelend (Dutch) to zögernd (German) en al (Dutch) to že (Slovenian). The guestbook is exhibited as a work and cannot be signed during the exhibition. (…) this exhibition will be absent from the guestbook: nothing has happened.

—Manus Groenen, 2022
(…) is part of an ongoing series (…) of interventions on exhibition texts, guides, catalogues and magazines in which Vrancken translates a word starting with the letter a to a word starting with the letter z. (…) every word consists of two parts (…) meaning (…) connotations. In translation, the meaning remains the same but the connotations diverge. (…) The Dutch word anders is translated to zvakasiyana in Shona, spoken in Zimbabwe. In previous editions almost (English) was translated to zamalo (Croatian), aarzelend (Dutch) to zögernd (German) en al (Dutch) to že (Slovenian). The guestbook is exhibited as a work and cannot be signed during the exhibition. (…) this exhibition will be absent from the guestbook: nothing has happened.

—Manus Groenen, 2022
A translation between words starting at opposite ends of the alphabet transparant page (tracing paper, 90g) 2022 guestbook, De Cacaofabriek 2021-2022, 297 x 210 mm
(…) proposed to annotate Shimmer's website with (…) a translation between words starting at opposite ends of the alphabet. The word accessible, located on the About page on Shimmer's website, translates to züganglich. (…) We found his intervention interesting, particularly as it becomes our only permanent work that will adapt or even disappear if we remove the word that Reinier annotates.

—Eloise Sweetman and Jason Hendrik Hansma, 2020
A translation between words starting at opposite ends of the alphabet transparant page (Ibo One, 60g) 2021 Prospects, Mondriaanfund, 2021, b/w ill., 170 x 120 mm, 175 pages
(…) The viewer, visiting galerie Gallery, partly misses the exhibition. But only by a whisker (…) Depending on the wishes of the artist(s), Jan Huijben empties his apartment. He temporarily stores away his furniture (…) like (…) wash of the waves. When the exhibition comes to a close the apartment is restored and the furniture reinstalled. (…) The artist is under the impression that the space is once again empty and makes the false assumption of it always returning to that state. Museums and galleries indeed begin with an empty space, before installing the exhibition in question, but galerie Gallery is foremost a furnished living room. Here, the first actions regarding the exhibitions are removing, hiding, concealing and keeping secret (…) Therefore, this is no more than a repetition of all past exhibitions at galerie Gallery, only paused at a different moment.
(…) The viewer, visiting galerie Gallery, partly misses the exhibition. But only by a whisker (…) Depending on the wishes of the artist(s), Jan Huijben empties his apartment. He temporarily stores away his furniture (…) like (…) wash of the waves. When the exhibition comes to a close the apartment is restored and the furniture reinstalled. (…) The artist is under the impression that the space is once again empty and makes the false assumption of it always returning to that state. Museums and galleries indeed begin with an empty space, before installing the exhibition in question, but galerie Gallery is foremost a furnished living room. Here, the first actions regarding the exhibitions are removing, hiding, concealing and keeping secret (…) Therefore, this is no more than a repetition of all past exhibitions at galerie Gallery, only paused at a different moment.
Untitled everything in the room 2020 a collaboration with Raquel Vermunt dimensions variable photography by Raquel Vermunt
(…) a stained glass window in the monumental stairwell, where the story of Saint Martin is depicted. (…) Vrancken deliberately chose not to add anything to the space, but to simply rearrange an existing element. On the handrail in the stairwell there are three attachments that had raised the height of the railing. Vrancken's intervention brings them back to the railing's original height (…) the corrections were not only out of place in terms of aesthetics, but also disrupted the movement that the stair and railing jointly orchestrated. Because the railing suddenly jumped a decimeter in certain places, one had to adjust his or her grip and movements while walking the stairs. (…) By lowering the extension of the balustrade and placing it next to the existing one, it doubles in form without doubling it in function. (…) I still look up at the window, through which the sun shines on the cloak of Saint Martin, split in two.

—Linda Köke, 2019
(…) a stained glass window in the monumental stairwell, where the story of Saint Martin is depicted. (…) Vrancken deliberately chose not to add anything to the space, but to simply rearrange an existing element. On the handrail in the stairwell there are three attachments that had raised the height of the railing. Vrancken's intervention brings them back to the railing's original height (…) the corrections were not only out of place in terms of aesthetics, but also disrupted the movement that the stair and railing jointly orchestrated. Because the railing suddenly jumped a decimeter in certain places, one had to adjust his or her grip and movements while walking the stairs. (…) By lowering the extension of the balustrade and placing it next to the existing one, it doubles in form without doubling in function. (…) I still look up at the window, through which the sun shines on the cloak of Saint Martin, split in two.

—Linda Köke, 2019
De misgrijpers lowered handrail extensions 2019 dimensions variable
(…) an adder, that uses a mountain's image as its title. Slithering along this mountain is a stretched cloud. (…) this image occupies a space usually inhabited by letters. Like a vowel can be pronounced in several ways—a, aa—, this work can be pronounced as a cloud or as an adder.

—Brenda Tempelaar, 2019
(…) an adder, that uses a mountain's image as its title. Slithering along this mountain is a stretched cloud. (…) this image occupies a space usually inhabited by letters. Like a vowel can be pronounced in several ways—a, aa—, this work can be pronounced as a cloud or as an adder.

—Brenda Tempelaar, 2019
(…) an adder, that uses a mountain's image as its title. Slithering along this mountain is a stretched cloud. (…) this image occupies a space usually inhabited by letters. Like a vowel can be pronounced in several ways—a, aa—, this work can be pronounced as a cloud or as an adder.

—Brenda Tempelaar, 2019
2018—2020 dimensions variable photography (1 & 3) by Nick Thomas
(…) In the work titled Participating in the exhibition as Raniero, Vrancken embraced this dilution in language and participated as Raniero in an exhibition: a name that appeared on all press releases, publications and posters (…) It is a semiotic game that Vrancken often plays to rearrange the forces at work between signified and signifier.

—Manus Groenen, 2022
Participating in the exhibition as Raniero poster, flyer, advertisements, invitation, press-release, window lettering 2018 dimensions variable
Sitting on a chair, legs crossed (…) Reader's Digest open in his lap, he reads. At specific moments in the performance, he sips from the glass of water on the table beside him. Ader marked 26 moments in the text at which he would drink his water. In Te lezen vallen, Vrancken used correction fluid to remove all except for the notations from a copy of Bas Jan's original Reader's Digest. The text ends up in a liminal space between reading and seeing. (…) crosses (…) x's (…) Falling (…) fall (…) fall (…)

—Manus Groenen, 2022
Sitting on a chair, legs crossed (…) Reader's Digest open in his lap, he reads. At specific moments in the performance, he sips from the glass of water on the table beside him. Ader marked 26 moments in the text at which he would drink his water. In Te lezen vallen, Vrancken used correction fluid to remove all except for the notations from a copy of Bas Jan's original Reader's Digest. The text ends up in a liminal space between reading and seeing. (…) crosses (…) x's (…) Falling (…) fall (…) fall (…)

—Manus Groenen, 2022
Sitting on a chair, legs crossed (…) Reader's Digest open in his lap, he reads. At specific moments in the performance, he sips from the glass of water on the table beside him. Ader marked 26 moments in the text at which he would drink his water. In Te lezen vallen, Vrancken used correction fluid to remove all except for the notations from a copy of Bas Jan's original Reader's Digest. The text ends up in a liminal space between reading and seeing. (…) crosses (…) x's (…) Falling (…) fall (…) fall (…)

—Manus Groenen, 2022
Te lezen vallen Bas Jan Ader's marks in The Boy Who Plunged Over Niagara (Lawrence Elliott, 1962) photocopy, correction fluid 2019 3x 297 x 210 mm
(…) With this pictorial title, Vrancken suggests that he partially stole Bowie, who, as a consequence, comminuted to stardust. (…) A similar tissue was exhibited in the traveling exhibition David Bowie Is. But perhaps Vrancken's tissue is an atonement, more than it is a tribute. The tissue reminisces the moment that Bowie and Vrancken partially coincided in meaning, but a soul was swapped too. An eye, an eye, a tooth, a tooth, is Vrancken's motto, whose exhibition instills drama in popstars, iconic artists animals and landscapes.

—Brenda Tempelaar, 2018
(…) With this pictorial title, Vrancken suggests that he partially stole Bowie, who, as a consequence, comminuted to stardust. (…) A similar tissue was exhibited in the traveling exhibition David Bowie Is. But perhaps Vrancken's tissue is an atonement, more than it is a tribute. The tissue reminisces the moment that Bowie and Vrancken partially coincided in meaning, but a soul was swapped too. An eye, an eye, a tooth, a tooth, is Vrancken's motto, whose exhibition instills drama in popstars, iconic artists animals and landscapes.

—Brenda Tempelaar, 2018
(…) With this pictorial title, Vrancken suggests that he partially stole Bowie, who, as a consequence, comminuted to stardust. (…) A similar tissue was exhibited in the traveling exhibition David Bowie Is. But perhaps Vrancken's tissue is an atonement, more than it is a tribute. The tissue reminisces the moment that Bowie and Vrancken partially coincided in meaning, but a soul was swapped too. An eye, an eye, a tooth, a tooth, is Vrancken's motto, whose exhibition instills drama in popstars, iconic artists animals and landscapes.

—Brenda Tempelaar, 2018
Where are we now?—The great gig in the sky lipstick, tissue, wood, plexiglass 2016 200 x 150 x 100 mm