Rineke Dijkstra, The Krazyhouse ( Dee), Liverpool, UK, 2009, Videostill © Rineke Dijkstra, Courtesy Galerie Max Hetzler, Berlin.

Rineke Dijkstra, The Krazyhouse (Megan, Simon, Nicky, Philip, Dee), Liverpool, UK, 2009, Videostill: Rineke Dijkstra © Rineke Dijkstra, Courtesy Galerie Max Hetzler, Berlin.

Rineke Dijkstra, The Buzzclub, Liverpool, UK/Mysteryworld, Zaandam, NL, 1996-1997, Videostill © Rineke Dijkstra, Courtesy Galerie Max Hetzler, Berlin.

Rineke Dijkstra, The Buzzclub, Liverpool, UK/Mysteryworld, Zaandam, 1996-97, Videostill © Rineke Dijkstra, Courtesy Galerie Max Hetzler, Berlin.

Rineke Dijkstra, The Buzzclub, Liverpool, UK/Mysteryworld, Zaandam, 1996-97, Videostill © Rineke Dijkstra, Courtesy Galerie Max Hetzler, Berlin.

Rineke Dijkstra, Amy, The Krazyhouse, Liverpool, 2008, © Rineke Dijkstra, Courtesy Galerie Max Hetzler, Berlin.

Rineke Dijkstra, Capturing Youth at the Threshold to Adulthood

Isa Genzken, OIL XVI und XV, 2007, © Isa Genzken / Galerie Daniel Buchholz Foto: Axel Schneider.

Thomas Bayrle, Autobahn, 2003, © VG Bild-Kunst, Bonn 2011, Foto: Axel Schneider.

Tobias Rehberger, Most Beautiful, 1999, © Tobias Rehberger, Foto: Axel Schneider.

Porträt Rineke Dijkstra, Foto: Gerald van der Kaap.

Porträt Rineke Dijkstra, Foto: Gerald van der Kaap.

 

Museum für Moderne Kunst
Domstrasse 10
+ 49 69 2123
Frankfurt am Main
Rineke Dijkstra. The Krazy House
February 23-May 26, 2013

MMK Museum für Moderne Kunst Frankfurt am Main presents Rineke Dijkstra. The Krazy House — the most comprehensive exhibition to date on the Dutch artist to take place in Germany. Rineke Dijkstra is one of the world's best-known photo and video artists. At MMK, she assembles all the video installations she has produced since 1996, among them two world premieres, for the first time. They will be supplemented by selected photographic workgroups revolving around how young people come of age in a society shaped by conventions and codes. The exhibition highlight will be the large-scale four-channel video projection The Krazyhouse, recorded in 2009 at the Liverpool Club bearing the same name: a portrait — as dynamic as it is moving — of five young people and how they express themselves in the dance medium.

For the exhibition, which spreads to all floors of the museum, Dijkstra has chosen more than 50 works by artists in the MMK collection which she sees in relation to her own work. With these examples from museum holdings, she provides personal insights into her own sources of inspiration, but also into central aspects of contemporary artistic production. Pursuing both formal analogies and correspondencies with regard to content, she takes a subjective look at the art of the present. In addition to works from the MMK collection by Andy Warhol, Douglas Gordon, Isa Genzken, Tobias Rehberger, On Kawara, Bruce Nauman and many others, at the artist's request a painting by Pablo Picasso is on view at the MMK for the first time as a loan: the famous composition Weeping Woman served as the point of departure for two of Dijkstra's video works also presented in the show.

Rineke Dijkstra was born in Sittard, Holland in 1959. After completing studies at the Gerrit Rietveld Akademie in Amsterdam she worked as a free-lance photographer for magazines, then turning to photo art in the early 1990s. During her travels in this period, she produced her first portrait series, the Beach Portraits, which earned international acclaim. Numerous photographic workgroups followed, for example the Park Portraits and the long-term observation of Almerisa, a child refugee from Bosnia. Dijkstra is concerned in her work with the friction between natural and controlled expressions of personality. She embarks on intense investigations of the search for identity that accompanies young adulthood. Often reminiscent of well-known compositions by artists of past generations, her imagery brings about a tension-filled confrontation between the viewer and the subjects.

Her first two video works, Annemiek and The Buzzclub, were executed in Holland and the U.K. in 1996/97. They show young people who, on the threshold to adulthood, bear the stamp of the present-day pop and youth culture. After the completion of those works, it was not until 2008 that Dijkstra returned to the moving picture medium. Since then, video has become a chief focus of her activities — a circumstance which the exhibition at MMK presents and honors on a comprehensive scale for the first time.

Rineke Dijkstra, Almerisa, 2000, © Rineke Dijkstra, Courtesy Galerie Max Hetzler, Berlin.

Rineke Dijkstra, Almerisa, 2007, © Rineke Dijkstra, Courtesy Galerie Max Hetzler, Berlin.

Sturtevant, Gonzalez Torres, Untitled (Go-Go Dancing Platform), 1995, © Sturtevant, Foto: Axel Schneider.

de Rijke/de Rooij, Bouquet IV, 2005, © de Rijke/de Rooij, Foto: Axel Schneider.

Robert Watts, Chair, 1962, Foto: Axel Schneider.

Rineke Dijkstra, I See a Woman Crying (Weeping Woman), 2009, Videostills: Rineke Dijkstra © Rineke Dijkstra, Courtesy Galerie Max Hetzler, Berlin.

Rineke Dijkstra, I See a Woman Crying (Weeping Woman), 2009, Videostills: Rineke Dijkstra © Rineke Dijkstra, Courtesy Galerie Max Hetzler, Berlin.

Rineke Dijkstra, I See a Woman Crying (Weeping Woman), 2009, Videostills: Rineke Dijkstra © Rineke Dijkstra, Courtesy Galerie Max Hetzler, Berlin.

Rineke Dijkstra, Ruth Drawing Picasso, 2009, Videostill: Rineke Dijkstra © Rineke Dijkstra, Courtesy Galerie Max Hetzler, Berlin.

 

Pablo Picasso, Weeping Woman, 1937, © Tate, London / Succession Picasso / VG Bild-Kunst, Bonn 2013.

 

Rineke Dijkstra, Shany, Palmahim Air Force Base, Israel, October 8, 2002, 2002; chromogenic print; 49 5/8 in. x 42 1/8 in.; Courtesy the artist; © Rineke Dijkstra

Rineke Dijkstra, Vondelpark, Amsterdam, June 10, 2005, 2005; chromogenic print; 59 5/8 in. x 70 1/16 in.; Courtesy the artist; © Rineke Dijkstra.

A Retrospective Survey of Portraiture Marked by Empathy for the Young

Rineke Dijkstra, Almerisa, Asylumcenter Leiden, The Netherlands, March 14, 1994, 1994; chromogenic print; 49 3/16 in. x 41 5/16 in. ; Courtesy the artist; © Rineke Dijkstra.

Rineke Dijkstra, Almerisa, Wormer,The Netherlands, February 21, 1998; 1998; chromogenic print; 49 3/16 in. x 41 5/16 in. ; Courtesy the artist; © Rineke Dijkstra.

Rineke Dijkstra, Almerisa, Leidschendam, The Netherlands, April 13, 2002, 2002; chromogenic print; 49 3/16 in. x 41 5/16 in. ; Courtesy the artist; © Rineke Dijkstra.

Rineke Dijkstra, Almerisa, Leidschendam, The Netherlands, March 24, 2007, 2007; chromogenic print; 49 3/16 in. x 41 5/16 in. ; Courtesy the artist; © Rineke Dijkstra.

Rineke Dijkstra, Almerisa, Zoetermeer, The Netherlands, June 19, 2008, 2008; chromogenic print; 49 3/16 in. x 41 5/16 in. ; Courtesy the artist; © Rineke Dijkstra.

Rineke Dijkstra, Olivier, Quartier Monclair, 13e DBLE, Djibouti, July 13,2003, 2003; chromogenic print; 49 5/8 in. x 42 1/8 in.; Courtesy the artist; © Rineke Dijkstra.

Rineke Dijkstra, Self-portrait, Marnixbad, Amsterdam, June 19, 1991; 1991; chromogenic print; 24 7/16 in. x 20 1/2 in.; Courtesy the artist; © Rineke Dijkstra.

 

San Francisco Museum of Modern Art
151 Third Street
Between Mission and Howard streets
415-357-4500
San Francisco
Rineke Dijkstra
February 18-May 20, 2012

Rineke Dijkstra is the artist's first midcareer retrospective in the United States. The exhibition is co-organized by SFMOMA and the Solomon R. Guggenheim Museum, New York. The San Francisco presentation is organized by SFMOMA Senior Curator of Photography Sandra S. Phillips. This is the most comprehensive museum exhibition to date of the artist's oeuvre, the first major Dijkstra exhibition organized by an American museum, and the first solo exhibition of her work in San Francisco. The exhibition features nearly 70 color photographs and five video installations, including two new video projections.

Dijkstra has revived and reexamined portraiture in contemporary art for the past 20 years. Her portraits are extraordinary for their complexity and presence. The children and adolescents she takes as subjects possess a remarkable formal classicism and psychological depth. Her method is both simple and classic: she either discovers her subjects in places they frequent — the beach or the park, for example — or she conceives of a type of person she would like to photograph, such as mothers who have just given birth or matadors just returned from the bullring, and goes about finding them. She employs the most direct and traditional of instruments, a 4 x 5 view camera set on a tripod and occasionally a strobe light to provide additional illumination.

Dijkstra's interest is in the ephemeral and the essentially unknowable. Most often, she photographs people in transition, during formative periods in their lives when change is perceivable. Her earliest sustained body of work, Beach Portraits, posed adolescents on the beaches where she found them, centered in front of an almost abstracted space of sea and sky. This intense scrutiny permitted her not only to record the outward appearance of these young people — the kinds of clothes they wear, the way they present themselves to the photographer — but also to suggest their internal selves.

The enigma and fantasy she found in the adolescents led her to examine ideas of emergence and change, sometimes the result of physical exertion (after giving birth or bullfighting, for example) or charted over time, often following the same person for a period of months or years. She realized that new mothers were experiencing change that could be seen and recorded, resulting in her study of these women immediately after giving birth (a day, a week, or hours later). Several projects are studies of the transitions apparent in young people: for instance, her pictures of teenagers entering the Israeli army or her extended portraits of Olivier, a fresh recruit to the French Foreign Legion whom she followed from France to Africa over a period of four years. Perhaps her most concentrated study is the series she made of Almerisa, a child refugee from Bosnia, who transform from looking small and very foreign in the first picture into a self-possessed young Dutch woman.

In the past 10 years, Dijkstra has augmented her studies with video, as in The Buzz Club (1996-97), a moving portrait of kids dancing in a neighborhood nightclub in Liverpool; invited by Dijkstra into an adjacent room to be filmed, they enter a private world of self-absorption. Dijsktra notes, "In the process of photographing, it becomes clear to me what I am looking for. Usually it is closely related to my own experience. In the disco girls I recognize my own desire for rapture." I See A Woman Crying (Weeping Woman) (2009) shows the artist's sympathy and understanding of children — her great respect for their intelligence, sensitivity, and imaginative understanding of the world. The video focuses on a group of schoolchildren and a painting at the Tate Gallery in Liverpool, England, Picasso's Weeping Woman (1937). Dijkstra's video shows the depth of her understanding of the emotional and imaginative complexity of this painting.

Her pictures are made with a conscious combination of great empathy and respectful distance, qualities she has found in the work of her important predecessors and influences, the photographers Diane Arbus and August Sander. Her work also directly relates to the projects of conceptual artists who work with series. Furthermore, both the scale of her work and its ambition recall the earlier tradition of Dutch painting: the dignity accorded the individual, the inquiry into many and different personalities, and the inherently democratic implications evident in the portrait painting of Rembrandt, Frans Hals, and the Dutch tradition in general has played an acknowledged role in her work.

Rineke Dijkstra has developed an international reputation as one of the most highly regarded photographers of her generation. Her life-size photographs and videos, subtly colored, are celebrated for capturing the essential nature and complexities of youth. Dijkstra's highly nuanced attention to detail, combined with her singular empathy for her subjects, present a human and psychologically intuitive understanding of the complexities of growing up.

Dijkstra was born in Sittard, the Netherlands, in 1959. She studied photography at the Gerrit Rietveld Academie in Amsterdam from 1981 to 1986. Through the late 1980s, she photographed people in clubs for magazines in the Netherlands and worked for corporations as a portraitist. In 1990 she injured her hip when she was knocked off her bicycle by a car. A self-portrait produced during her rehabilitation, in which she is seen having just emerged from a pool, exhausted, sparked a new direction in her work.

Since her first solo exhibition, at de Moor in Amsterdam in 1984, Dijkstra has shown at the Sprengel Museum Hannover (1998), Museu d'Art Contemporani de Barcelona (1999), Art Institute of Chicago (2001), Stedelijk Museum in Amsterdam (2005), and the Rudolfinum in Prague (2006), among other venues. She has also exhibited widely in group shows, including the Venice Biennale (1997 and 2001), Bienal de São Paulo (1998), Biennale Internationale di Fotografia in Turin (1999), International Month of Photography in Moscow (2000), ICP Triennial of Photography and Video at the International Center of Photography in New York (2003), Out of Time at the Museum of Modern Art in New York (2006), and Family Pictures at the Solomon R. Guggenheim Museum in New York (2007). She has received much recognition for her work, winning the Kodak Award Nederland in 1987, the Art Encouragement Award Amstelveen in 1993, the Werner Mantz Award in 1994, and the Citibank Private Bank Photography Prize in 1998. She lives and works in Amsterdam.

Accompanying the exhibition is a fully illustrated, beautifully bound catalogue, featuring 100 plates, including video stills, and essays by exhibition co-curators Sandra Phillips and Jennifer Blessing. The essays trace the development of Dijkstra's work, the dialogue between her work and the history of painting, and the relationship between her still portraits and her more recent video work. The catalogue includes an interview with the artist, plate entries, and selected interviews with some of the artist's subjects. The 240-page book includes a catalogue of the exhibition, complete exhibition history, and bibliography. The book is co-published by the Solomon R. Guggenheim Museum and D.A.P./Distributed Art Publishers in the U.S., and Thames and Hudson worldwide. The catalogue will be for sale in the SFMOMA MuseumStore.

Rineke Dijkstra, Hilton Head, South Carolina, USA, June 24, 1992; 1992; chromogenic print; 66 1/8 in. x 55 11/16 in.; Courtesy the artist; © Rineke Dijkstra

Rineke Dijkstra, Olivier, Camp Général de Gaulle, Libreville, Gabon, June 2, 2002, 2002; chromogenic print; 49 5/8 in. x 42 1/8 in. ; Courtesy the artist; © Rineke Dijkstra.

Rineke Dijkstra, Long Island, New York, July 1, 1993, 1993; chromogenic print; 66 1/8 in. x 55 11/16 in.; Courtesy the artist; © Rineke Dijkstra.

Rineke Dijkstra, Kolobrzeg, Poland, July 26, 1992, 1992; chromogenic print; 66 1/8 in. x 55 11/16 in.; Courtesy the artist; © Rineke Dijkstra

Rineke Dijkstra, Vila Franca de Xira, Portugal, May 8, 1994; 1994; chromogenic print; 49 5/8 in. x 42 1/8 in.; Courtesy the artist; © Rineke Dijkstra.

Rineke Dijkstra, Amy, The Krazyhouse, Liverpool, December 23, 2008, 2008; chromogenic print; 48 7/8 in. x 40 1/4 in. ; Courtesy the artist; © Rineke Dijkstra.

Rineke Dijkstra, Sefton Park, Liverpool, June 10th, 2006, 2006; chromogenic print; 53 15/16 in. x 64 9/16 in.; San Francisco Museum of Modern Art , purchase through a gift of Carla Emil and Rich Silverstein and the Accessions Committee Fund; © Rineke Dijkstra.

Rineke Dijkstra, Ruth Drawing Picasso, Tate Liverpool 2009, Courtesy the artist and Galerie Max Hetzler © Rineke Dijkstra.

Rineke Dijkstra, The Weeping Woman, Tate Liverpool 2009, Courtesy the artist and Galerie Max Hetzler © Rineke Dijkstra.

Rineke Dijkstra, The Weeping Woman, Tate Liverpool 2009, Courtesy the artist and Galerie Max Hetzler © Rineke Dijkstra.

Liverpool Schoolchildren Interacting with Picasso's Weeping Woman

Rineke Dijkstra, The Buzz Club, Liverpool, England/Mysteryworld, Zaandam, Netherlands, 1996-1997; digital media; two-channel video projection with sound, dimensions variable; Collection SFMOMA. © Rineke Dijkstra.

Rineke Dijkstra, The Buzz Club, Liverpool, England/Mysteryworld, Zaandam, Netherlands, 1996-1997; Double Projection, 35 mm film with sound transferred to video, 26 min, 40 sec, Courtesy Marian Goodman Gallery.

Rineke Dijkstra, The Buzz Club, Liverpool, England/Mysteryworld, Zaandam, Netherlands, 1996-1997; Double Projection, 35 mm film with sound transferred to video, 26 min, 40 sec, Courtesy Marian Goodman Gallery.

Rineke Dijkstra, The Buzz Club, Liverpool, England/Mysteryworld, Zaandam, Netherlands, 1996-1997; Double Projection, 35 mm film with sound transferred to video, 26 min, 40 sec, Courtesy Marian Goodman Gallery.

 

Tate Liverpool
Albert Dock
+44-151-702-7400
Liverpool

Rineke Dijkstra: I See a Woman Crying
April 27-August 30, 2010

The works in I See a Woman Crying were borne out of the artist’s residence at Tate Liverpool during the European Capital of Culture 2008 exhibition The Fifth Floor: Ideas Taking Space; a groundbreaking project inspired by ideas and proposals from people across the city. Through collaborating directly with Tate Liverpool’s audiences, Dijkstra’s residence saw her working with schoolchildren from across the region, after being inspired by the ways that Tate Liverpool staff encourage children to interact with art.  During The Fifth Floor a studio was built in the gallery and the artist documented schoolchildren interpreting Picasso’s iconic painting Weeping Woman (1937), currently on display as part of the exhibition DLA Piper Series: This is Sculpture. The two video works have never been seen before in the UK.

Dijkstra has had a long and fruitful relationship with Liverpool, using its residents as sitters for her photography and video works for over 15 years. She explains that she is drawn to the culture of storytelling and the unwavering friendliness of the people of the city. Her first video work, Buzzclub, Liverpool (1996), features teenagers dancing to a soundtrack of 1990s acid house and rave in a studio erected in a Liverpool nightclub, in an intimate and revealing snapshot of urban youth identity. Focusing on adolescents, young adults and people in a transitional stage of life, Dijkstra’s portraits aim to capture ‘uninhibited moments’. By using pared down, reduced backgrounds she produces striking and beautifully rendered works which slowly unravel personalities, heighten emotional responses and emphasise the psychology of her subjects.

The newly commissioned video portrait The Weeping Woman, Tate Liverpool signals a new direction for Dijkstra, as she introduces dialogue and text into her work for the first time. Ruth Drawing Picasso, Tate Liverpool, the second work in the exhibition, is a subtle study of a quiet, observational response to Picasso’s painting.

Rineke Dijkstra was trained at the Gerrit Rietveld Academy, Amsterdam. Her first solo exhibition took place in 1984 at de Moor in Amsterdam. Dijsktra's work has appeared in numerous international exhibitions, including the 1997 and 2001 Venice Biennale and the 2003 International Center for Photography’s Triennial of Photography and Video in New York. She is the recipient of a number of awards, including the Werner Mantz Award (1994) and the Citibank Private Bank Photography Prize (1998).

The artist's new videos and Liverpool-based portraits will be featured in Liverpool, an exhibition at Galerie Max Hetzler, Berlin, from February 20-March 27, 2010.

Rineke Dijkstra, The Buzz Club, Liverpool, England / Mysteryworld, Zaandam, Netherlands, 1996-1997; Double Projection, 35 mm film with sound transferred to video, 26 min, 40 sec.

Rineke Dijkstra, The Buzz Club, Liverpool, England / Mysteryworld, Zaandam, Netherlands, 1996-1997; Double Projection, 35 mm film with sound transferred to video, 26 min, 40 sec.

Rineke Dijkstra, The Buzz Club, Liverpool, England / Mysteryworld, Zaandam, Netherlands, 1996-1997; Double Projection, 35 mm film with sound transferred to video, 26 min, 40 sec, Courtesy Marian Goodman Gallery.

Rineke Dijkstra, The Weeping Woman, Tate Liverpool 2009, Courtesy the artist and Galerie Max Hetzler © Rineke Dijkstra.

Rineke Dijkstra, The Weeping Woman, Tate Liverpool 2009, Courtesy the artist and Galerie Max Hetzler © Rineke Dijkstra.