Een project voor gammagazine 6
Hans Eijkelboom
1978
Een project voor gammagazine 6
Een project voor gammagazine 6
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Published in the same year as In de krant and 96 Alternatives, Hans Eijkelboom’s project for Gamma magazine belongs to his quasi-performative practice of inserting his own persona into unusual contexts. Described by Federica Ciochetti ...
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Een project voor gammagazine 6
Hans Eijkelboom
1978
Utrecht: gamm(a)
Unpaginated [16 pages]
21 × 15 cm

Published in the same year as In de krant and 96 Alternatives, Hans Eijkelboom’s project for Gamma magazine belongs to his quasi-performative practice of inserting his own persona into unusual contexts. Described by Federica Ciochetti as “a photobomber avant la lettre” (in Jeu de Paume’s Magazine, Palm), Eijkelboom built a practice around embodying the other and intruding into the other’s space.


 


For this project, the artist left a photographic portrait of himself in houses and places he happened to visit. Subtitled “The Ideal Man”, as we learn from the introduction signed by Paul Hefting, Eijkelboom’s investigation stems from a deceptively simple question: “Who are you, and who am I?”. By placing his portrait in other people’s homes – on a kitchen clipboard, inside storage drawers, or even framed on the walls – the artist not only insinuates himself into their personal lives, but also playfully appropriates their spaces with self-irony and boldness. The work turns a seemingly innocuous photograph into an act of subtle intrusion, questioning the boundaries between personal identity and representation.


 


Little is known, by contrast, about the Dutch magazine Gamma, published in Utrecht in the late 1970s. The De Appel Institute in Amsterdam, however, holds several issues featuring contributions by artists including Johan Cornelissen, Paul van Dijk, Tybor Garor, Elsa Stansfield, and others.

Utrecht: gamm(a)
Unpaginated [16 pages]
21 × 15 cm

Published in the same year as In de krant and 96 Alternatives, Hans Eijkelboom’s project for Gamma magazine belongs to his quasi-performative practice of inserting his own persona into unusual contexts. Described by Federica Ciochetti as “a photobomber avant la lettre” (in Jeu de Paume’s Magazine, Palm), Eijkelboom built a practice around embodying the other and intruding into the other’s space.

 

For this project, the artist left a photographic portrait of himself in houses and places he happened to visit. Subtitled “The Ideal Man”, as we learn from the introduction signed by Paul Hefting, Eijkelboom’s investigation stems from a deceptively simple question: “Who are you, and who am I?”. By placing his portrait in other people’s homes – on a kitchen clipboard, inside storage drawers, or even framed on the walls – the artist not only insinuates himself into their personal lives, but also playfully appropriates their spaces with self-irony and boldness. The work turns a seemingly innocuous photograph into an act of subtle intrusion, questioning the boundaries between personal identity and representation.

 

Little is known, by contrast, about the Dutch magazine Gamma, published in Utrecht in the late 1970s. The De Appel Institute in Amsterdam, however, holds several issues featuring contributions by artists including Johan Cornelissen, Paul van Dijk, Tybor Garor, Elsa Stansfield, and others.

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Published in the same year as In de krant and 96 Alternatives, Hans Eijkelboom’s project for Gamma magazine belongs to his quasi-performative practice of inserting his own persona into unusual contexts. Described by Federica Ciochetti as “a photobomber avant la lettre” (in Jeu de Paume’s Magazine, Palm), Eijkelboom built a practice around embodying the other and intruding into the other’s space.

 

For this project, the artist left a photographic portrait of himself in houses and places he happened to visit. Subtitled “The Ideal Man”, as we learn from the introduction signed by Paul Hefting, Eijkelboom’s investigation stems from a deceptively simple question: “Who are you, and who am I?”. By placing his portrait in other people’s homes – on a kitchen clipboard, inside storage drawers, or even framed on the walls – the artist not only insinuates himself into their personal lives, but also playfully appropriates their spaces with self-irony and boldness. The work turns a seemingly innocuous photograph into an act of subtle intrusion, questioning the boundaries between personal identity and representation.

 

Little is known, by contrast, about the Dutch magazine Gamma, published in Utrecht in the late 1970s. The De Appel Institute in Amsterdam, however, holds several issues featuring contributions by artists including Johan Cornelissen, Paul van Dijk, Tybor Garor, Elsa Stansfield, and others.

Utrecht: gamm(a)
Unpaginated [16 pages]
21 × 15 cm

Published in the same year as In de krant and 96 Alternatives, Hans Eijkelboom’s project for Gamma magazine belongs to his quasi-performative practice of inserting his own persona into unusual contexts. Described by Federica Ciochetti as “a photobomber avant la lettre” (in Jeu de Paume’s Magazine, Palm), Eijkelboom built a practice around embodying the other and intruding into the other’s space.

 

For this project, the artist left a photographic portrait of himself in houses and places he happened to visit. Subtitled “The Ideal Man”, as we learn from the introduction signed by Paul Hefting, Eijkelboom’s investigation stems from a deceptively simple question: “Who are you, and who am I?”. By placing his portrait in other people’s homes – on a kitchen clipboard, inside storage drawers, or even framed on the walls – the artist not only insinuates himself into their personal lives, but also playfully appropriates their spaces with self-irony and boldness. The work turns a seemingly innocuous photograph into an act of subtle intrusion, questioning the boundaries between personal identity and representation.

 

Little is known, by contrast, about the Dutch magazine Gamma, published in Utrecht in the late 1970s. The De Appel Institute in Amsterdam, however, holds several issues featuring contributions by artists including Johan Cornelissen, Paul van Dijk, Tybor Garor, Elsa Stansfield, and others.

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Published in the same year as In de krant and 96 Alternatives, Hans Eijkelboom’s project for Gamma magazine belongs to his quasi-performative practice of inserting his own persona into unusual contexts. Described by Federica Ciochetti as “a photobomber avant la lettre” (in Jeu de Paume’s Magazine, Palm), Eijkelboom built a practice around embodying the other and intruding into the other’s space.

 

For this project, the artist left a photographic portrait of himself in houses and places he happened to visit. Subtitled “The Ideal Man”, as we learn from the introduction signed by Paul Hefting, Eijkelboom’s investigation stems from a deceptively simple question: “Who are you, and who am I?”. By placing his portrait in other people’s homes – on a kitchen clipboard, inside storage drawers, or even framed on the walls – the artist not only insinuates himself into their personal lives, but also playfully appropriates their spaces with self-irony and boldness. The work turns a seemingly innocuous photograph into an act of subtle intrusion, questioning the boundaries between personal identity and representation.

 

Little is known, by contrast, about the Dutch magazine Gamma, published in Utrecht in the late 1970s. The De Appel Institute in Amsterdam, however, holds several issues featuring contributions by artists including Johan Cornelissen, Paul van Dijk, Tybor Garor, Elsa Stansfield, and others.

MORE BOOKS