Untitled Black Video, 2009
Reconstruction of a leaked cellphone video of Saddam Hussein’s execution using found comments on the video posted on web forums on the first day of the video’s appearance
Single channel video projected on black painted surface
Installation view, documentation video, full browser video
Recent & Upcoming Exhibitions
Presentation of XXXXXXXXX in the Expanded Field and Flat Black Sculpture series in collaboration with Private Circulation and Rhizome, June 24 – 28, 2009. Opening Reception: June 23, 6-9 pm
No Soul for Sale, X-Initiative, New York
New Wave, group exhibition curated by Miltos Manetas and Jan Aman.
New Wave, Padiglione Internet, a Collateral Event of the 53rd Venice Biennale, June 3rd until 22 November 2009
Solo exhibition curated by Nicole Edwards, opening May 1 – June 20 2009. Exhibition text and interview.
MIC Toi Rerehiko, Auckland, New Zealand
Martijn Hendriks, Jason Lazarus, Harm van den Dorpel, Tracky Birthday, Chris Buck
April 30 – May 7, 2009
The Future Gallery, Berlin
An exhibition that invites innovative and independent online art initiatives to each come do a 4-hour residency inside the space of a gallery—attempting to explore how the distribution, production, analysis, and consumption of culture are rapidly evolving in an online context. In particular the exhibition aims to render the labor of these online practices transparent, providing “real life” access to these cultural producers, and overall inspiring public dialogue around their practices.
Art Fag City, ASDF, Club Internet, Ffffound, The Highlights, Humble Arts Foundation, I Heart Photograph, Loshadka, Netmares/Netdreams, Platform For Pedagogy, Private Circulation, UbuWeb, VVORK, Why + Wherefore
Organized by Laurel Ptak
Capricious Space, Brooklyn, NY
March 7–28, 2009
Full details at www.letsmeetinreallife.com
Living Arts of Tulsa’s New Genre Festival XVI at Living Artspace, Tulsa, Oklahoma, Feb 26 to March 26
Curated by J.D. McPherson
Opening Thursday February 26
More
Harm van den Dorpel, Constant Dullaart, Frank Koolen, Ola Vasiljeva, Jan Robert Leegte, Pascual Sisto, Martijn Hendriks and others
14 February – 22 March 2009
Opening Friday February 13th 2009
Arti et Amicitiae, Amsterdam
Film & video works, performance and installations by Cory Arcangel (tbc), Martin Arnold, Tammuz Binshtock, Marcel Broodthaers, Natalie Frigo, Stephen Gray, Pierre Hébert, Martijn Hendriks, Jodi, Spike Jonze, Matt McCormick, Denis Savary, Naomi Uman
Ghent, Arts Centre Vooruit, Thursday 29 January 2009
More
Group exhibition with Herman Asselberghs, The Conet Project, Paul Chan, Mark Cooley, Martin Creed, Andrea Geyer, Ibro Hasanovic, Martijn Hendriks, Miranda July, Damir Niksic, Douglas Ross.
Curated by Niels Van Tomme and Sonja Simonyi
Washington Project for the Arts, November 20 – December 23, 2008
Screening of The Birds without the birds at 17e Festival du Film de Vendôme.
12 December 2008, Vendôme, France
Festival du Film de Vendôme
Recent Texts
Martijn Hendriks is a Dutch artist working in a variety of media who has variously healed Britney Spears, abused Google Images and found a way to make the men in the film 12 Angry Men a little less angry. His on-going, long-term project (untitled), in which he digitally removes every bird from Hitchcock’s classic The Birds, has gotten him a whole lot of attention. If you’re asking yourself “What the fuck?”, Hendriks might respond, “Exactly.” In this interview he talks about icons, the art of uncertainty and how not being able to light fireworks one New Years in Brussels informed his work.
Interview by Paula Neudorf
Martijn Hendriks is a Dutch contemporary artist who works with found images and video. Selecting from an abundance of defaced and marginalized media he wages a low-key struggle to dissolve the misinformed haze that permeates image searches and suburban videography. By salvaging and promoting a variety of different source material, and through systematic alteration and redistribution of that material, he explores inherent paradoxes in today’s society.
José Manuel López Fernández:
When I got to your project what attracted my attention was, first, the direct intervention on the almost “sacred” images of one of Hitchcock’s most respected films and, then, the concept that lays behind the title you selected. So, just a couple of questions about these two points:
How did you get to this idea — removing the birds from The Birds? What was the conceptual or personal route — if any — that led you to it?
Full interview (English), article (pdf in Spanish)