Jacqueline Heerema

Seeking the light of the Shadow, Arita, Japan

Still-Life, botanical eggshell porcelain

still-life | immersive climatescapes | circulair conceptual ceramics | Cups with Soul

still of time | raw plantscape | plantmade | botanical porcelain | 3-d technology | Biodigital Eggshell Porcelain

Plantscape

It’s a love story, Earthly Provenance | Ancestral Intimacy, a living collection of Sphagnum; detail of exhibition on sensitivity, sense of touch, vulnerability and climate, Zone2Source Amsterdam, 2022.

it’s a love story, Earthly Provenance | Ancestral Intimacy; detail of exhibition on sensitivity, sense of touch, vulnerability and climate, Plantscapes, made during Dagzomen, artist-in-residency Park Studio de Orangerie, Zone2Source, Amsterdam, 2022. Photo Luuk Smits.

Subscapes, Dagzomen, artist-in-residency Park Studio de Orangerie, Zone2Source, Amsterdam. Made for It’s a love story, Earthly Provenance | Ancestral Intimacy, on sensitivity, sense of touch, vulnerability and climate, 2022.

In search of the miraculous…, detail, artist-in-residency at Cascadas Artspace, Barcelona, 2022.

‘Gathering dust’ or delay as an artistic research method. A performative intervention in the Exploded View exhibition on perceptions of imaging, image-forming and value systems in art and heritage. In a re-enactment of ‘Musée Imaginaire de la Sculpture’ (André Malraux, 1947), artist Jacqueline Heerema does not show the supposed collective image memory, but creates a world with images and words from her own oeuvre. High on the pedestal lies the work ‘aardtijd’ with the vulnerable soil/Earth, ‘low-to-the-ground’ she walks over art. In this way she elevates soil/Earth to the iconic origin from which life and also art arises.

Soft Soils, aardtijd is an art work that is too vulnerable to touch, while seeking sensorial connections with soil/Earth Part of The Becoming, The being & The meanwhile – subsurface as living climate archive; Land in Wording, Amstelpark Amsterdam, 2019-ongoing. Soft Soils, aardtijd is embedded within the exhibition Exploded View and the ongoing dialogue artists Eline Kersten and Jacqueline Heerema engaged in since 2019.

toenadering [ˈtunadərɪŋ] 2021-ongoing. Part 6 of The becoming, The being & The meanwhile, icw Kenzo Kesuda, Zone2Source 2021.

2021: Water flows upwards, who is Dommel? Artists collective Satellietgroep explored during 5 months of artistic field research – followed by 5 months DIY public participations – the rain river Dommel, as a living entity. Guided by the Dommel herself and by (local) experts, natural and cultural scientists. Commissioned by Waterschap De Dommel and Kunstloc Brabant in the context of Living Lab Brabantse Beken and Landschapstriënnale 2021.

artist-in-residency at Sundaymorning@ekwc, artistic research, studio presentation during Test Case XXIV, 2021

In search of the in-between-ness of the natural and the artifactual; 3-d scan artist-in-residency at Sundaymorning@ekwc, artistic research, studio presentation during Test Case XXIV, 2021

Pioneering Sand Motor – Sand Motor as source to rethink anthropogenic coastal modifications of cultural public space. Reflexive essay of 10 years artistic field research with Zandmotor, published in Research by Urbanism, University Delft Publishers (2021). Artist talk at the international Coastal Dynamics Conference at TU Delft and a series of Public Field Lessons on time, sea and climate (2021).

aardtijd is Part 5 of The becoming, The being and The meanwhile - subsurface as living climate archive. Exhibition and essay, published in ‘Exploded View, Art and Research on Layered Landscapes in Transition’ by CLUE+, the Interfaculty Research Institute for Culture, Cognition, History and Heritage at Vrije Universiteit Amsterdam. Due to COVID postponed to 2022.

24hr online global workshop, 2020 On Earth Day April 22 2020, I made a video called Matter of Time. During this video I make a peat ball, to experience the timescale of soil. On May 31, I follow the sunrise around the globe. Every hour I made a peat ball in my garden at home in The Hague (Netherlands), shared the experience and engaged online during 24 hours with other ‘earth-sphere-makers’ around the world to experience the art of ‘worldmaking’. Co-host is climate scientistTanya Lippmann and/with youth activists of RE-PEAT Collective.

The becoming, The being, The meanwhile, 2019-2020 Part 3: The meanwhile. Exhibition & public programs Breath of Soil(s), Zone2Source 2020. Artistic field research in 3 timescales in the reciprocal relation of nature and culture, disruptions of time and matter and ethics of appropriations, 2019-2020 Part 1: The becoming. Artistic research of the genesis of Land in Wording, 2019 Part 2: The being. Public intervention Onland, Land in Wording,2019 Part 3: The meanwhile. Exhibition & public programs Breath of Soil(s), Zone2Source 2020

sedi | senti | ment, artist-in-residency at Sundaymorning@ekwc, artistic research, studio presentation during Test Case XXII, 2020. Photo Luuk Smits.

Artistic field research in 3 timescales in the reciprocal relation of nature and culture, disruptions of time and matter and ethics of appropriations, 2019-2020 Part 1: The becoming. Artistic research of the genesis of Land in Wording, 2019 Part 2: The being. Public intervention Onland, Land in Wording,2019 Part 3: The meanwhile. Exhibition & public programs Breath of Soil(s), Zone2Source 2020

Artistic field research in 3 timescales in the reciprocal relation of nature and culture, disruptions of time and matter and ethics of appropriations, 2019-2020 Part 1: The becoming. Artistic research of the genesis of Land in Wording, 2019 Part 2: The being. Public intervention Onland, Land in Wording,2019 Part 3: The meanwhile. Exhibition & public programs Breath of Soil(s), Zone2Source 2020

Video still. Sources & Resources, NL-Croatia. A bilateral cultural exchange project that targets at learning and sharing perceptions of locality and time of the cultural-natural environment of Terschelling (Wadden Sea, Netherlands) and Praputnjak (Bakar Bay, Croatia). Sand and Karst landscapes, that can both be perceived as 'sponge' landscapes.

Art-science-society pre-program for Climate as Artifact, 5 Zeelabs, talks and essay. In a series of lectures, interviews and interventions, artists and designers enter into discussions with scientists, philosophers and public to rethink our perceptions of culture and nature.

Artist-curator. Exhibition program at Electriciteitsfabriek, The Hague with Berndnaut Smilde, Sachi Miyachi, Nishiko, Esther Kokmeijer, Maurice Bogaert, Aliki van der Kruijs, Jos Klarenbeek, Maurice Meewisse, Lotte Geeven, Theun Karelse, Thijs Ebbe Fokkens, Giuseppe Licari, Onkruidenier, Josje Hattink, Masha Ru. An exhibition program that targets at how redefining climate as a cultural artifact through artistic practice helps us to break free from conventional attitudes in order to establish new and essential perspectives. Climate as Artifact brings together artists, designers, scientists and society to rethink our perceptions of culture and nature.

Personal reference collection of fossils and/or artifacts

Artistic field research and open-air exhibition program, Oerol, Wadden Island Terschelling. An inquiry into the friction between indigenous and invasive species, into the dissension between the protection and development of nature on the one hand, and the conservation of cultivated land on the other. By uniting different extracts from the landscape into new products, sacred lines are breached and new questions arise concerning authenticity, nature and culture on the island.

Exhibition program at Intersections Art Rotterdam. A non-romantic approach of artistic manual labour; of art as durational research methodology, disseminating the raw materials of the roles we play as observers, actors, explorers and prospectors of liminal landscapes. With the tools we need, with the landscape ingredients, archives and lexicons we collect, and with the insights we discover and share while interacting within these open air public landscape laboratories and people.

Artistic field research and exhibition program. The man-made Afsluitdijk (1932) is sourced as innovative milestone of geological time, landmark for climate change and highway for migration.

Zandgast: 5 years artist-in-residency and public expeditions program at Zandmotor. The Zandmotor is an innovative project that aims to generate new knowledge in times of climate change and relative sea level rise for future coastal protection. An innovation, built on the foreshore in 2011 with 21,5 million cubic meters of sand. The Zandmotor is the only Dutch area outside the dikes that is exposed to the tides and wind, built to transform and even assimilate around 2030 in sea, beach and dunes. The result is a dynamic extension of the coast, a new controlled post-natural ‘wilderness’. The Zandmotor is an publicly accessible open air scientific and artistic laboratory.

5 years artist-in-residency and public expeditions programs to explore the Zandmotor as cultural phenomenon. Zandmotor is a coastal pilot near The Hague that uses the principles of 'Building with Nature'. It is framed as nature, but is it?

Artistic research into the hybrid relationship of humanity and man-made nature: understanding climate change through innovatory heritage, public appropriations and storytelling. With the prospect of climate change, rising sea level, dis-balance of salt and fresh water, shifting ecologies and geopolitical strategies, migrations of people and species, pressures of tourism and energy supplies we face major coastal transitions worldwide. Transitions that may lead to conflicts, estrangements, loss of heritage and loss of more informal cultural uses of public coastal space. Understanding these processes involves disclosing new visual narratives, as the vital links for unlocking knowledge and insights of the perception of history (where we come from) and the challenges we face (where we are going).

Now Wakes the Sea: international exchange artist-in-residency and public programs since 2012, developed in collaboration with international cultural partners. The programs function as an alternative source for collecting the intangible local knowledge derived from the artistic and scientific projects. New concepts and works are developed that we collect, connect and contextualize with existing works for public events like traveling film festivals, exhibitions, workshops and presentations at expert conferences. By interconnecting coastal communities, arts and science we share local knowledge on global level to gain sustainable insights on coastal transitions that transcend local and national issues. Locations: New York City, Japan, UK, Malta, Lithuania, Russia, Georgia, Moldova, Turkey & more.

Cultural strategy for Zandgast, the proposed new visitor center and artist-in-residency on and about the Zandmotor as cultural phenomenon. Overtreders W, Rob Sweere and RAAAF (Rietveld Architecture-Art-Affordance) are selected for the first designs of Zandgast. Aimed at sharing new works and insights of the coexistence of humanity and the sea with broader audiences and in collaboration with multiple partners.

Do we resist, adapt or develop new positions? Guest-curator for Kunstfort bij Vijfhuizen, a manifestation which 10 artists, local experts and scientists, who worked together to develop ‘subjective cartography’ for new positions in our approach to water, land and heritage. Haarlemmermeerpolder. With Sjaak Langenberg, Francois Lombarts, Jan de Graaf & Robert Schütte, Ronald Boer, Valarie Dempsey, Jacqueline Verhaagen, Marjolijn Boterenbrood, Bram Esser, Bram Vreeven, icw Kadir van Lohuizen, Ine Gevers, Peter van Mensch, Charlotte Geldof.

Badgast: 5 years international artist-in-residency and public programs in one-and-a-half stacked recycled shipping container, build by Refunc Recycle Architects in the middle of the temporary surfing village called F.A.S.T. Arts and science can express the spatial and social and ecological qualities - as well as the problems - of our coastal areas, and make them engagingly accessible to the public. These works can transform a destination normally marked by consumption and recreation into a platform for critical communication and serious reflection. This timely reflection on spatial transition processes may act as a strong catalyst in generating public and professional discussions and connect contemporary research and new works to historic and future works and coastal transitions. 


Deconstructing institutional museology in ‘The Chamber of Marvels’(2008-2009) . Every step in the process of an object and story being transferred into a museum object as part of a collection was researched within the museum spaces, together with the locals and experts in four steps called The Naked Object = observation; The Talking Object = perception; Object Speed-dating = composition and cohesion; Beyond the Object = transformation. Inventor of Innovatory Heritage, in which the understanding of heritage shifts from static/exclusive to dynamic/inclusive. 4289, The Chamber of Marvels of Zoetermeer, co-author, publication, spread to all museums, heritage and heritage education institutions in the Netherlands, 1200 editions. Artist talk (2013): Can art contribute to new concepts of heritage, museums, collections and society? ICOMRio2013, Rio de Janeiro, Brasil.

Transforming a residential area into ‘Museum Oostwijk’ (2002-2009). Starting from the concept that everybody is a director and curator of a museum I converted this urban neighboorhood into Museum Oostwijk by shifting the established construction of formal museums by 180 degrees and stated that everybody and everything in this area is part of the collection of the Museum. The inhabitants became the directors, curators and guides of the Museum. Artists and experts were invited to collaborate with the locals on research to disclose this collection. Catalogue Museum Oostwijk, spread house to house in all 3500 households.

WindMee, 2002-2006. Artist-curator for an art cycle route, a 65-kilometer biking route between Rotterdam, Hoek van Holland and The Hague, the existing art, heritage and culture in this coastal landscape, and interactions with the public.In 2004, the existing works of art and cultural-historical landmarks were supplemented for the first time with 6 contemporary public art projects. Participating artists: Saskia Janssen, Sjaak Langenberg & Rosé de Beer, Adriaan Nette, Esther Polak, Zeger Reyers, Barbara Visser, icw Esther Didden, Ingrid van Santen, Felix Janssens.

I put a swing in an opened window frame to question the role of art (institutions) in the public domain. A surreal and efemeral public intervention at exhibition space TENT, Witte de Withstraat Rotterdam (NL, 2001).

Ik noem haar Roos - I call her Roos, 2000-2005, art projects and public programs themed around constructions of identity. A reconstruction of a childhood memory. Over a period of 5 years, ROOS developed as an artistic alter-ego, questioning the makability of identity. Exhibitions at GEM, Haags Gemeentemuseum, xfac KABK, Galerie Nouvelles Images, Quartair, Luxus, 1646, Seasons Galleries, Schröder Galerie, Voorheen Damen, Arti et Industriae, Doubletstraat, Hot Red Lokaal, Huis-als-museum Amersfoort, CBK Leiden

Stonewater, 1996-1997 i.c.w. choreographer Annelie David 1996: Stonewater I: sensing light, seven rooms- seven moments of sensation, DasArts, Westergasfabriek; 1997: Stonewater II: Once more light – light labyrinth, DansAteliers Rotterdam; 1997: Stonewater III: Again… reflection, DansWerkplaats Amsterdam