Untitled - EMAF

AUSSTELLUNG // EXHIBITION
The British author Rudyard Kipling once wrote a poem about newly ubiquitous machines driven by steam, comparing their vigorous,
predictable repetition to religious notions of predestination. The poem describes one such mechanism, then surmises that ›John Calvin
might have forged the same.‹ In ›Divine Methods / Hidden Motives‹, Erik Olofsen creates a minimal but strong set of associations through
a robotic art work. A single lit candle, held by a robotic arm, is mounted high on the interior wall of a church. The robot is constantly
moving in snake-like contortions impossible for a human arm, turning inside-out with bursts of violent speed, yet no matter how twisted
or rapid the movement, the candle it holds remains perfectly upright, always lit. An atheist could make an argument that the project represents
the contortions that a believer has to make to keep their faith alive. A believer might argue that the piece demonstrates unbending
faith in the face of worldly distractions. Lastly, a materialist could argue that it's just a robot with a candle in a church. In this
sense, the piece functions as a sort of catalyst for belief, reflecting the viewer's perspective, but the weakest argument of the three would
undoubtedly be the materialist's. (Chris Csikszentmihalyi)
›One could imagine that the robot is actually following a fully detailed route with the candle, as if conveying a message perceivable
only to those willing to open their minds and believe. The high-tech piece of equipment is not able to liberate itself from its pre-programmed
existence, yet the spectator's belief will project meaning in the machine's actions. The work is questioning belief without seeing
and appeals to the imagination of the spectator through his own coded set of beliefs. The location, the church, is essentially important for
the installation as a church is a place where believe is unquestionable.‹ (Erik Olofsen)
Erik Olofsen, * 1970 Aalsmeer, NL. He studied at Rijksakademie van Beeldende Kunsten, Amsterdam and Gerrit Rietveld Academy,
Amsterdam. E. Olofsen gained awards at the international competition ›Vida 8.0 - art & artificial life‹ (E) and the Prix de Rome for
Sculpture/Installation. His works belong to Stichting Cadre, Amsterdam (NL) and the collection of Advocaten BV, Tilburg (NL). Er
erlangte Residencies and grants he got from Nederlands Film Fonds, Fonds BKVB, NL, and Fonds BKVB, NL, for a 3-months artist's residency
in Xiamen, China, as well as an artist stipend for Skoki (PL).
Solo exhibitions (Selection)
2005 Palais des Beaux Arts, Brussels (B); Etablissement d'En Face Projects, Brussels (B);
2004 Aschenbach en Hofland, Amsterdam (NL); Chinese European Art Center, Xiamen (CN);
2003 Rijksakademie van beeldende kunsten, Amsterdam (NL);
2001 Het Torentje, Almelo (NL); De Loge, Haarlem (NL);
2000 Ripperdapark 12, Haarlem (NL);
Group exhibitions (Selection)
2006 Fundacion Telefonica, Madrid (E);
2005 Nieuwe Vide, Haarlem (NL); KSG Terrein, Vlissingen (NL); Den Haag Sculptuur 2005 (NL);
2004 De Watertoren, Vlissingen (NL);
2003 GEM, Den Haag (NL);
2002 Arti et Amicitiae, Amsterdam (NL); De Vishal, Haarlem (NL); Steigereiland Noord, Amsterdam (NL)
2001 Room, Den Haag (NL);
2000 Theater Zeebelt, ›Antihelden‹, Den Haag (NL);
1999 Niggendijker, Groningen (NL);
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