A SUITE OF 10 DIGITAL CHROMOGENIC PRINTS WITH DIASEC FACE-MOUNTING. 116 X 158 CM
Installation views.
See the full suite of artworks here
To receive an electronic copy of the exhibition catalogue, including extensive artist notes composed during the creation of each artwork, and the essay Presence Elsewhere by Dr Paul G. Johnston in which he situates Hazewinkel’s work in relation to the nuanced considerations currently unfolding at the periphery of the important discourses concerning the restitution of looted objects to the cultures from which they originate. Download here
More than a decade in the making, this body of work continues Hazewinkel’s longstanding interests in relationships between ancient material culture, collective and trans-generational memory, and landscape.
Each of the 10 photographic works presented in Journeys In The Lifeworld of Stones (Displacements I-X) brings together three related images - two represent the same subject separated by socio-political histories and notions of ownership, and another representing a landscape, seascape, or ephemeral atmospheric condition of the Mediterranean region wherein each of the repeated subjects originate.
In the lower right margin of each artwork is a digitised reproduction of a late 19th/early 20th century gelatin dry-plate photographic negative representing an ancient object as it became commercially available during the frenzied period of institutional collecting in which new-world cultural institutions scrambled for old-world cultural legitimacy. These small archaeologically focused documentation images were sourced from the Marshall Photographic Collection at the British School at Rome Photographic Archives. Marshall (1862-1928) acted as European agent for antiquities to the recently established Metropolitan Museum of Art in NYC between 1906 and 1928. The central, museological image in each artwork represents the same ancient object photographed by Hazewinkel in the airless galleries of the Met in 2017. The broader contextualising landscapes, seascapes and atmospheres were photographed by the artist at each object’s region of origin.
