Type & Characters at the Lettergieterij Amsterdam

On the occasion of the hundredth anniversary of the design of the typeface ‘Hollandsche Mediæval’, we invite you to Type & Characters, a manifestation comprising an exhibition, a publication, performances, screenings and discussions.

With the works and contributions by Re’em Aharoni, Keunpyo Ahn, David Bennewith, David Bernstein, Laurenz Brunner, Jasper Coppes, Henk Gianotten, Roosje Klap, Mathieu Lommen, Hans van Maanen, Ane Østrem, Sjoerd de Roos, Henk Tieman, Sander Uitdehaag, CIVIC VIRTUE & Lawrence Weiner.

The exhibition was curated by Paul Gangloff.
Type & Characters receives the support of the Amsterdams Fonds voor de Kunst, Stadsdeel West and Canada Type.

Overview of the Game Of Chance as Grammar, and below the publication on letters as bodyparts.

Bijlmer Car Park Floor Signage

In collaboration with Ruchama Noorda for Present Forever: 55 Contemporary Dutch Artists, Amsterdam, 2012  Artslant.com/ams/articles/show/31938


A floor piece was made in an abandoned parking garage with road surface marking and thrown stones made of aerated concrete. Like a game of hopscotch for the spiritual world, the piece leads one through several stadia, and provides places to jump over, places to avoid, places to rest, and places forever.


The markings seem to have been made without any interference of reason, and changes a statistical organization of subjects (i.e. people, cars), into a configuration through which the random, and with it, the divine, can seep back in.


In the design one can recognize many elements from children’s games such as snakes-and-ladders, shooting marbles and hangman. Stones of aerated concrete, which have been broken from the parking garage’s roof lay violently scattered about, as if giants had been playing there (the child extended into the future is not a grown-up, but a giant).


The lines and arrows in the design ignore the layout of the garage, and instead point inward, to the games own elements, and outward, beyond the direct environment of the garage, to the planets and the stars. As the orientation of the markings disregards and breaks free from the original parking space, so do the stones of concrete remove the game from current time, as their markings seem to have been formed very slowly, as if moved by glaciers or perhaps by the tilting of the earth itself. It is then that we can recognize these markings as evidence of acts that have happened beyond the present moment, and as such, they open up more distant perspectives to citizens that would otherwise view the laws around them simply as the current properties of their environment.

This reintroduction of the random into the purposeful space is the reintroduction of divine virtue into the contemporary statistical organization of ourselves as subjects. It is a game in which the movements and its outcome can never be fixed beforehand, if it is to remain virtuous. Any act on top of the map forms a new map, in the same way as an archeological excavation ignores the contemporary function of the site, while at the same time unveiling the sources that had lead to it.


No rules have been supplied.

CIVIC VIRTUE II – The Imperialized Confederate & Walz, at the Villa Dessauer, Bamberg

Slideshow & video installation during the CIVIC VIRTUE II solo at Villa Dessauer, Stadthausgalerie Bamberg.

Gijs’s interest is aligned with the implications of symbols, the potency of which lies precisely in their ability to hold different meanings which are symmetrically opposite to one another. These symbols range from medieval allegories concerning morality, as well as the transformation of such signs during the Enlightenment, as they came to include the vocabulary of classical mythology. The ability of these symbols to communicate lies in their ability to hold variations within themselves.

Marsyas, a popular icon representing free speech and criticism of authority during the Roman Republic period for example, was especially associated with the plebeian cause when it opposed the ruling oligarchy. When Augustus came into power, he associated himself with Apollo, who flayed the skin of Marsyas as punishment for losing a competition in music. Thus Marsyas was a particularly potent symbol of subversion in the early history of the Empire, though in later times, such implications of dissent were successfully suppressed and the prevalent association between Apollo and Marsyas became limited to a version revolving solely around the role of music in Marsyas’s transgression against Apollo. Yet the potency of its symbolism rests on the obvious brutality of Apollo’s reaction even to the extent of expressing an internal contradiction in what was presumed to be a benevolent censorship. These shifts in meaning are processes that express the fluency of how one symbol morphs into another.

As the ambiguity of such symbolism lies in the synthesis of polar opposites, then its representation in the form of portraiture is meant to uncover the space between mutually exclusive similarities, that is: a framework of time. Gijs thus proposes a landscape fashioned out of its own subject matter to address the ways an artwork can or can not be replaced by an understanding of itself.

See further: http://allegoric.tumblr.com/

Video installation ‘Waltz’: two motion pictures edited alongside each other to resemble a clock.
The CIVIC VIRTUE II exhibition marked the beginning of CIVIC VIRTUE’s Grand Tour.


Group exhibition organized by Geirthrudur Finnbogadottir Hjorvar in 2010, with Ruchama Noorda, Brian McKenna, Gijs Wahl and Mounira Al Sohl. The exhibition was also the genesis of CIVIC VIRTUE as a collective.

Exerpts from Geirthrudur Finnbogadottir Hjorvar’s Catalogue of the exhibition.

Libertéégalité, sélection.’ was an installation of 10 black paintings painted white leaving open an imperfect circle, as if beheaded. A bourgeois print chosen from Arti’s archives was hanged upside down, to direct its gaze towards the paintings.

(Sculpture by Ruchama Noorda)

Perhaps There Are Possibilities / De Keuze van Rudi Fuchs – Royal Gallery & GEM The Hague

Installation of video and paper works shown at the graduation exhibition at the Royal Academy of Fine Art in The Hague, a curated selection by Rudi Fuchs in the Royal Gallery and a presentation of selected students in GEM.

“Wanneer de beschouwer het kunstwerk objectief zou bekijken, dat is, ontleden, stoot hij uiteindelijk op de cirkel van schepper, ding en idee. Eenheid kan hij zelf ook ervaren. Veelheid kan hij verbinden. Maar het verband daartussen kan hij net niet begrijpen in het werk. Helemaal ontleed ziet hij uiteindelijk een oog terug. Zo ontdekt hij het verband. Niet als symbool, niet als begrip, maar als zichzelf: hij herkent het als de wil tot scheppen, tot betekenen. Hij ervaart de rijkdom aan mogelijkheden, hij ervaart zichzelf als mogelijkheid.”

Bachelor thesis, Gijs Wahl

Link scriptie: http://journal.gijswahl.com/2005/01/27/idee-id/

Video-projection on a white wall; breaking open a white wall to reveal a white wall appearing as an egg inside an egg.