360° Portraits – Further Information

Anton Hazewinkel (Solo show)

iRRi ART for the Golden Eagle Contemporary Art Center, with Nanjing University of the ArtsSchool of Media and Communication, Nanjing, China, April 27th, 2013 – May 12th, 2013.

„360° Portraits// 360°人。物“ is an exhibition and workshop project held in Nanjing, April 2013. The project contains two parts: First the solo show, curated and designed by iRRi ART, presenting a choice of Anton Hazewinkels “Chinesense” series containing large scale 360° portraits. Second the workshop held by Professor Zhong Jianming and Anton Hazewinkel, conducted in cooperation with the Nanjing University of the Arts.

Exhibition Design

The exhibition at the Golden Eagle Contemporary Art Center takes the photography of Anton Hazewinkel as a basis to think about our personal and everyday objects that define us and influence our everyday live, the commonness of each living surrounding and its diversity.

Central to the exhibition design is the center piece, a large print of the Guzheng teacher Lü Jin, the headphone stations, one for every large scale printing on the walls around the center piece, and the everyday objects in the exhibition space.

The center piece is an eight meter long print, mounted on a round frame and suspended from the ceiling, so that the visitor can circle around it, listening to her music and reading the interview with Mrs Lü, of which the text is printed on the ground underneath the picture.
On the surrounding walls the visitor can examine the four meter long prints while listening to the recorded interviews with the people portrayed.
The everyday objects in the center are taken from the exhibited portraits. Where ever the visitor is standing, he or she can always find the real object and the photographed in one sight line.

Curatorial Statement

Anton Hazewinkel, born 1961 in Eibergen, Netherlands, moved to China in 2005 and he began his “Chinesense” project in 2010. The series contains large scale 360° portrait pictures, inspired by the unique diversity of Chinese people living in one of the largest cities in the world. The subtle and intimate approach that he uses to portray people in their domestic environments provides the viewer with an inside perspective from a distant point of view. This dialectic is broadened by the position of the artist as a “double-outsider”, in this particular situation as a photographer and in society as a foreigner in an alien country.

The viewer is provided with a notion of intimacy that transforms from a photographic, two dimensional medium to the viewer’s own three dimensional world, bridging the lives of the audience and those portrayed in the images.  The everyday objects exist in the mergence that lingers between these realms, evoking a purposeful familiarity that involves the viewer by triggering experiences, memories and associations.  As the objects are displayed in the exhibition, they take on the role of being representatives; capsules transporting the personal to the public, also delineating the dialectic between photographer and model. The works invite the audience to step into the life of a stranger, sharing a glimpse of her or his personality, and experiencing a moment together.

The sound installation seems to emerge right out of the picture where the Guzheng teacher  Lü Jin is shown in her studio. By listening to the interviews the viewers immediately find themselves involved in a conversation with the person portrayed, although they might not know her or him personally. This conversation enrolls the viewer as an active member in a stranger‘s life, through the presentation of their living conditions and reflections.

Each panoramic photo consists of 15 – 20 stitched photos. The long edge of the photos is around 23,000 pixels. Each panorama is around 70 Mpix in 16bit colors.

The title of the project “360° portraits // 360° 人。物“ is the setting under which both the solo exhibition and the workshop come together to one focus: people and their objects. The diversity of people is an inquisitive focus of the workshop as well as it is in Anton Hazewinkel’s portrait series. The workshop depicts people with an object that has a strong emotional connotation. In Hazewinkel’s exhibition the objects obtain their emotional relevance through their connectivity within a general social fabric. They allow us to discover similarities between the love stories, which are subject to the workshop, and our own experiences and desires.