Wineke Gartz (Eindhoven NL), lives and works in Amsterdam, The Netherlands
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Education/Residencies
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2012 • Artist in Residence; CEAC - Chinese European Art Center, Xiamen, China
2010 • Residency artist studio, cloister ZIN, Vught (NL)
2003-2004 • Research program CCA, Center for Contemporary Art, Kitakyushu, Japan
1997-1998 • Rijksacademy van beeldende kunsten, Amsterdam (NL)
1996 • Post Graduate Free Art, St. Joost Academy, Breda (NL)
1987-1994 • Academy voor Beeldende Vorming, Tilburg (NL)
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Solo Exhibitions
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2022 • Wineke Gartz, Club Solo, Breda (NL)
2021 • Tsuji-Ura | Street Drifter, Pleinkamer, The Bookstore, Amsterdam
2021 • GROUND, Extrapool collaborative video and sound live exhibition with musician Nash Whalen, Extrapool, Nijmegen (NL)
2019 • Le rêve, la route, le mur, Kröller-Müller Museum, Otterlo (NL)
2018 • Rock Garden, De Nederlandsche Bank Kunstcollectie, Amsterdam (NL)
2016 • Ms Candelabra's Platform of Light, 360°BRNDWR, Viewmaster Projects, Maastricht (NL)
2015 • 000 VA Auroral Blue, Melly, Formerly known as Witte de With Center for Contemporary Art, Rotterdam (NL)
2014 • 27 Palms Inn III, PuntWG, Amsterdam NL)
2013 • American Pain I, 3A Gallery, New York (US)
2012 • Hot Freaks, Nest, The Hague (NL)
2012 • Transporting Studio to the brain, Dutch Electronic Art Festival DEAF2012 in collaboration with Galerie Iris Cornelis, Rotterdam (NL)
2011 • Wineke works with Wooden Shjips, Incubate Festival, Tilburg (NL)
2010 • ‘Forwards Backwards’, Temporary Land Art Project, Jofrahoeve, Esch (NL)
2009 • Morgana Plains, from silver to gold, Arts Westchester, White Plains NY (US)
2007 • Be Strong, Bytheway Foundation, Amsterdam (NL)
2005 • River Walk, Screens on 11, TPG Building / Stedelijk Museum CS, Amsterdam
2005 • Ueno Park, Disclosures IV, VRIZA, Amsterdam (NL)
2002 • Hit The Feeling, Hedah, Maastricht (NL)
2000 • Planets - Step into a World, The Bakery / Annet Gelink Gallery, Amsterdam (NL)
1999 • Installation Fin de Siècle, l’Institut Néerlandais, Paris (F)
1998 • Poses Positives, Luxus, The Hague (NL)
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Group Exhibitions & Projects
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2023 • Tekentuin, Drawings Centrum Diepenheim, Diepenheim
2023 • Getting Lost, The Orchid and The Wasp, NDSM-loods, Amsterdam
2021 • De Reis, De Ketelfactory, Schiedam (NL)
2020 • Skauhytt, Residency 2020 Kloster Bentlage, (Germany), postponed
2020 • By Invitation Only, Logman, Utrecht (NL)
2020 • A KOCSMA, a jubilee show of artist in residency AiR Pécsbagota/Post 15 Foundation, Hungary, at Ruimtevaart, The Hague (NL)
2020 • Late Summer Show, 3A Gallery, New York (US)
2019 • Food Show 3, 3A Gallery, New York (US)
2019 • Stil, Ketelfactory, Schiedam (NL)
2018 • Happy New Year 3A Gallery, 3A Gallery, New York (US)
2017 • Fur, Egg, Hips: Live Event and intervention at P/////AKT, for the soloshow Daisy Chain by Lorelinde Verhees, Amsterdam (NL)
2016 • Modus Operandi, Kunstvereniging Diepenheim, Diepenheim (NL)
2016 • Verloren en Hervonden, Tschumi paviljoen, Groningen (NL)
2016 • Cracking The Frame Presents, Punt WG, Amsterdam (NL)
2016 • Snapshot of a Larger Order, Ketelfactory - Nolet Loods, Schiedam (NL)
2016 • Dark glitter sparks, VHDG, Leeuwarden (NL)
2016 • On Stage it's Bright, Apprentice/Master project 2015-2016, Kuntspodium T, Tilburg (NL)
2015 • upcoming attractions, Mieke van Schaijk Gallery, s Hertogenbosch (NL)
2015 • Commisioned artists, DordtYard 2015, Dordrecht (NL)
2015 • HYPERHYPER, VORT, Willem II fabriek, 's Hertogenbosch (NL)
2015 • We Are All Cats, Karma International, Zürich (CH)
2015 • Door het Woord, Door het Beeld, Ketelfactory, Schiedam (NL)
2014 • X Drawings on Language and Communality in A Straight Line, conceived by Marijn van Kreij & Barbara Seiler Galerie (Zürich) fair booth, Amsterdam Drawing, Amsterdam (NL)
2014 • THRILLING AUTONOMY, analogue perceptions of a parallel network'; curated by Glenn Peeters in collaboration with The Effenaar Eindhoven; Onomatopee, Eindhoven (NL)
2014 • We Are All Cats, 3A Gallery, New York (US)
2014 • Trinitas Highway, Ketelfactory, Schiedam (NL)
2013 • The Elements, Zandvoorts Museum, Zandvoort (NL)
2013 • 5x5Castelló13 International Contemporary Art Prize Diputació de Castelló, Espai d´art contemporani de Castelló, (ESP)
2013 • Kotka International Video and Electronics Art Festival, Kotka, (FIN)
2013 • Once more, unto the breach, dear friends, once more' Lokaal 01, Breda (NL)
2012 • Systems Operations; New Works in Video curated by Kenneth White, Eli Ridgway Gallery in cooperation with the Zero1 Biennial. San Fransisco (Cal, US)
2012 • Rolling Snowball/3-Guangzhou, Redtory, Guangzhou, (CHN)
2012 • De Wandelaar/ The Wanderer, Marres i.s.m. SKOR; Marres, House for Contemporary Culture, Maastricht (NL)
2012 • Video exhibition, CEAC, Chinese European Art Center, Xiamen, (CHN)
2012 • 30 Days of Peace Love And Painting, organized by Ellen de Bruijne & Jeremiah Day, Ellen de Bruijne Projects, Amsterdam (NL)
2012 • A Drawing Show curated by Dan Graham, Galerie Micheline Szwajcer, Antwerp (B)
2011 • Fax, St Paul St Gallery Auckland, New Zealand (NZ)
2010 • Different Tracks, Kunsthal52, Den Helder (NL)
2010 • Fax, The Torrance Art Museum, Torrance, Los Angeles CA (US), Plug In, Institute of Contemporary Art, Winnipeg (C), and Para/Site Art Space, Hong Kong (HK)
2010 • The Destroyed Room I & II, Whatspace, Perron 58, Tilburg (NL), and The Forgotten Bar / Galerie Im Regierungsviertel, Berlin (D)
2010 • Sifres, Greylight Projects, Heerlen/Hoensbroek (NL)
2009 • Fax , The Drawing Center, New York; a traveling exhibition circulated by Independent Curators International (ICI) and co-organized by The Drawing Center, and ICI, New York, guest curator: João Ribas (US)
2009 • 3 artists selected by Dan Graham and a work by Dan Graham, 303 Gallery, New York (US)
2009 • Whatbar #2, Hotel Noailles, Brussels,(B)
2008 • Subway #2, Safe, Dalfsen (NL)
2007 • bigPOWERsmallWORKS, gallery Kathareze, Tilburg (NL)
2007 • Paulo Post Futurum, Lokaal 01, Breda’s Museum, Breda (NL)
2007 • Painting +, Approach Art Association, HattyúHáz Art Hall Pécs, (HU)
2007 • W139 / Basement, Amsterdam (NL)
2007 • Kommst du, ich kann nicht mehr, Gebouw F, Breda (NL)
2006 • Attitudes, De Veemvloer, Amsterdam (NL)
2006 • To Collect 1, Video Art, curated by Noa Sadka, Studio A, Tel Aviv, Israël (IL)
2006 • NH-3D, Noord-Holland biennale, KCB Bergen (NL)
2006 • World Unlimited, Museum of Modern Art, Arnhem (NL)
2006 • Three years IJssalon Aris Laan, curated by Emo Verkerk, Museum Waterland, Purmerend (NL)
2005 • Acces, Consortium, Amsterdam (NL)
2005 • GOTS, project in public space, Groningen (NL)
2005 • Drawings, IJssalon Aris Laan, Den Helder (NL)
2004 • Define yourself - Defenitions of Space, Public Space Project, Deventer (NL)
2003 • Maeda Studio’s, CCA Kitakyushu, Japan
2003 • CCA Night - Optical Sisters/Jun Ofusa, Galery Cafe Bar Enyen, Tokyo, (JP)
2003 • Living Apart Together, VRIZA, Amsterdam (NL)
2002 • Encounters, Impakt Festival, Utrecht (NL)
2002 • She shows, Nominees, Mama Cash Art Price, Rotterdam (NL)
2002 • Being all things to all people, Nouvelles Images Galery, The Hague (NL)
2001 • Central Screening, Centraal Museum, Utrecht (NL)
2001 • Ter Compensatie, VRIZA, Amsterdam
2000 • Buren, Stedelijk Van Abbemuseum, Eindhoven (NL)
2000 • Leaving the Island - PICAF’, Pusan Biennal, curated by: M. Martinez, Hou Hanru & Young Chul Lee, Pusan Metropolitan Museum of Art, South-Korea (KR)
2000 • Flowers in the New Time, Noordbrabants Museum, ’s Hertogenbosch (NL)
2000 • Pitch Fever, de Witte Zaal, Gent (B)
1999 • Kamerschatten, KW14, ’s Hertogenbosch (NL)
1999 • Filmic Images, Galery Ferdinand van Dieten d’Eendt, Amsterdam (NL)
1999 • International Photography Biennal México, Centro de la Imagen, México City (MEX)
1999 • Unité des Habitants, Art-is, ’s Hertogenbosch (NL)
1999 • Archisx & Bdybldng, De Fabriek, curated by Koen Delaere, Eindhoven (NL)
1999 • Unlimited.nl-2, curated by Hou Hanru, Stichting De Appel, Amsterdam
1997 • Gang01, Lokaal 01, Breda (NL)
1996 • DeRetour, De Fabriek, Eindhoven (NL) and Shed im Eisenwerk, Frauenfeld (CH)
1996 • CrossoverOverall, Dick Verdult group project, De Fabriek, Eindhoven (NL)
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Cooperations /Screenings /Other Projects
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2023 • PLOT, Live collaboration with Oorbeek at concert venue OCCI Amsterdam
2022 • Mother Song - Live Activation, Live event in the installation Mother Song, with veejay by Wineke Gartz and sound by componist Dirk Bruinsma, Club Solo, Breda (NL)
2021 • Love for sale / Alles moet weg?, Benefit auction, powered by Dead Darlings, W139, Amsterdam
2020 • Skauhytt, Residency 2020, Kloster Bentlage, (Germany), postponed to 2021
2020 • Cahier 'Voorjaar 2020 - Wineke Gartz', part of '50 artists, 50 cahiers, Spring 2020', Published by the Ketelfactory, Schiedam (2020)
2020 • Contribution to A Town Called Lonesome X Masha Somik about sound pionieer Bram Cox, EXTRAPOOL, Nijmegen
2019 • Do You Feel Lucky Today?, Greylight Projects, Supermarket Independent Art Fair, Stockholm (SE)
2018 • The Day of The Young Artist, part of panel, Mr Motley Cafe, De Pont Museum, Tilburg (NL)
2017 • Ch-ch-ch-changes Voorleesbar / Reading Bar, invited by Lorelinde Verhees at P/////AKT during 24 east, P/////AKT, Amsterdam (NL)
2016 • Lecture/gathering 'On Intervention in Art', initiated by Space Projects, Amsterdam
2016 • Lecture & presentation plan 'Cell Memory, Thank You Plant', Hortus Botanicus Haren (NL)
2016 • Live performance 'Dagger Smart Dagger, works with thigh', spoken word, video and sound. Idea, production, texts and live projections: Wineke Gartz; in collaboration with Jan Adriaans (guitar), Julien Grossmann (electronics). Ketelfactory/ De Noletloods. Schiedam (NL)
2016 • Rupture of Representation, Seminar directed by Leire Vergara, with Rana Hamadeh and Wineke Gartz, Cracking The Frame Presents, m4gastatelier, Amsterdam
2016 • Dinner screening with Wineke Gartz, organised by Cracking The Frame Presents, Punt WG, Amsterdam (NL)
2016 • Kunstpodium T - Master Talk with Wineke Gartz, De Pont Museum Tilburg (NL)
2015 • Lecture on 000 VA Auroral Blue, In Light of 25 Years, Formerly known as Witte de With Center for Contemporary Art, Rotterdam (NL)
2015 • Trumpet & Sound performance for the inauguration of Forwards Backwards II, Idea, production and scenario: Wineke Gartz; in collaboration with Guus Niessen (trumpet), Mark Nieuwenhuis (trumpet) and Dirk Bruinsma (electronics, sound composition), DordtYart, Dordrecht (NL)
2015 • Launch publication Kunstwordtterugkunst #7, De Appel arts centre, Amsterdam
2014 • Distillation, presentations and lectures with Alex de Vries, Patricia Pisters, Jasper van Aarle, Wineke Gartz, Florian Krepcik, Florette Dijkstra, De Ketelfactory, Schiedam (NL)
2014 • Dan Graham in conversation with Wineke Gartz, San Serriffe art book shop, Amsterdam (NL)
2013 • Contribution to the 'Museum Shop' by Meschac Gaba, part of the 'Museum of Contemporary African Art', Tate, London (GB)
2013 • Artist talk Wineke Gartz; interviewed by Arno van Roosmalen (Stroom The Hague) at Nest, The Hague (NL)
2012 • Panel for Symposium 'Stand van de Stad, cultural scene investigation', SM's, Stedelijk Museum ’s Hertogenbosch (NL)
2012 • Performance and special setting for Garage Rural.e - Tafelontmoeting; Idea, scenario, production and perormance: Wineke Gartz in collaboration with Jan Willem Moulijn (trumpet and performance) and Peter Huber (trumpet and performance). Euro Land Art & BKKC, Jofrahoeve, Esch (NL)
2012 • Lecture and projections for ZET Foundation, at 'Did you visit this part of the P.A.R.K.', Glazen Huis, Amstelpark Amsterdam (NL)
2011 • Participation 'Actors, Agents and Attendants II: 'Learning Play', a seminar/play of Chto Delat & Ultra red, for the SKOR symposium 'Social Housing, Housing the Social', Felix Meritis, Amsterdam (NL)
2011 • The Yes Foundation/ Stichting Ja, ‘Ja! Live’ Artnight 2011, ’s Hertogenbosch (NL)
2011 • Contribution for the Series of Extrascoop’11 Presentations, Extrapool, Nijmegen (NL)
2010 • ‘Forwards Backwards’ performance with Eight trucks, opening of Landkunst2010, Summer Manifestation; Idea, scenario and production: Wineke Gartz, Landgoed de Velder, Liempde (NL)
2010 • ‘Forwards Backwards’, Temporary Land Art sculpture, Jofrahoeve, Esch (NL)
2010 • Residency at ZIN guest studio at modern cloister ZIN, Vught (NL)
2010 • Contribution at Symposium ‘Land en betekenis’, ZIN, Vught (NL)
2010 • ‘Forwards Backwards’, Trumpet Performance, Closure event, Idea, scenario, production and performance: Wineke Gartz; in collaboration with Serge Onnen (trumpet) and Jan Willem Moulijn (trumpet), Jofrahoeve, Esch (NL)
2010 • Panel Discussion ‘Morgana Plains, from silver to gold’, with Livia Straus, Anna Gritz and Paul Clay. Artswestchester, White Plains (NY)
2009 • video ‘Seurat, No Monet’, Dan Graham (NL/US)
2007 • Lecture Wineke Gartz & Bradley Pitts, #1: Artistic Approach, De Wittenplaats, Amsterdam
2007 • Lecture Symposium Euro Land Art 2007, ’s-Hertogenbosch (NL)
2006 • Contribution video ‘Home’ to DVD 10 years Post St. Joost, Screenings: Blinde Muur, Chasse Theater, Breda and Urban Espresso Bar, Rotterdam (NL)
2005 • Audivideo IV, De Fabriek, Eindhoven (NL)
2005 • Text/photo contribution to Wanakio 2005 urban art exhibition, Naha, Okinawa, Japan (JP)
2002 • Installation at festival Kinetic North, The Stubnitz, Amsterdam (NL)
2001 • Live video/ slide Performance serie, ‘Theater festival Boulevard’, Den Bosch (NL)
2001 • Short16 mm. black& white film, in cooperation with Jan Adriaans, for film/music performance ‘Testbeeld Rotterdam’, the Filmwerkplaats & Las Palmas, Rotterdam (NL)
2000 • Screening: Lost & Found, De Waag, Amsterdam (NL)
1999 • Screening: Momentum Art festival, Moss (NOR)
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Commissions
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2022 - 2024 • Suikerroute, Ontwerp voor Kunst in openbare ruimte; toekomstige fietstunnels, Kunstpunt Groningen (NL)
2021 • Spirit, Drum, Storm, commissioned by the Ketelfactory, Schiedam (NL)
2018 • Design Commemorative coin 'Jaap Eden, sports icon', commissioned by the Ministry of Finance, The Hague (NL)
2017 • Fur, Egg, Hips: Live Event with spoken word, music and live video projections at the soloshow by Lorelinde Verhees at P/////AKT, Amsterdam
2017 - 2018 • 'Cell Memory - Thank You Plant', commissioned film and permanent installation at the Hortus Botanicus Haren (Groningen, NL) for Stichting Behoud de Groene Hortus in collaboration with TAAK, Amsterdam
2016 • 'Ms Candelabra's Platform of Light', Episode #3 360°BRNDWR, commissioned by Viewmaster Projects, Maastricht (NL)
2016 • Research project at the Hortus Botanicus Haren, commissioned by Stichting Behoud de Groene Hortus Haren (Groningen, NL) in collaboration with TAAK, Amsterdam
2016 • Dark glitter sparks, video mosaic for VHDG & pop center Leeuwarden (NL)
2015 • Commisioned Art 2015, working period, DordtYard, Dordrecht (NL)
2015 • In Light of 25 Years, Formerly known as Witte de With Center for Contemporary Art, Rotterdam (NL)
2014 • Design Commemorative coin '200 years Battle of Waterloo', commissioned by the Ministry of Finance, The Hague (NL)
2012 • Design Commemorative coin '300 years Treaty of Utrecht', commissioned by the Ministry of Finance, The Hague (NL)
2012 • Performance and special setting for Garage Rural.e - Tafelontmoeting; Euro Land Art & BKKC, Jofrahoeve, Esch (NL)
2007-2010 • ‘Forwards Backwards’, sculpture, performances, guest studio period, book and film for Euro Land Art Netherlands and BKKC Tilburg. Development of landart project in the GroeneWoud (Noord Brabant, The Netherlands)
2007 • Dag van het Veen, Fort Abcoude, commisioned by CBK Utrecht (NL)
2006 • Publication ‘Dear East ‘ commissioned by Paradiso and Stichting SKOR Amsterdam
2005 • Urban Screens 05, TPG Building / Stedelijk Museum CS, Amsterdam
2003 • Intstallation ‘Love me’, for the Ministry of Social Affairs, The Hague, commissioned by Rijksbouwmeester
2002 • Design of installation at appartement entrances of the University of Amsterdam, commissioned by the Amsterdam Foundation of the Art, in cooperation with VMX-architects
2001 • Live video/ slide Performance serie for Theater Festival Boulevard, 's Hertogenbosch (NL)
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Professorships
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2023 • Exam supervisor, Frank Mohr Master of Painting, Groningen (NL)
2023 • Tutor Dogtime at The Rietveld Academy, Amsterdam
2021 & 2022 • Guest advisor, Frank Mohr Master of Painting, Groningen (NL)
2020 • Exam supervisor, Frank Mohr Master of Painting, Groningen (NL)
2019 • Exam supervisor, Minerva Art Academy, Fine Arts department, Groningen (NL)
2018 - 2019 • Lecturer, ArtEz Hogeschool voor Kunsten, Docent Beeldende Kunst en Vormgeving Zwolle (NL)
2018 • Exam supervisor, Minerva Art Academy, Fine Arts department, Groningen (NL)
2018 • Guest Teacher, Bcademie, Rotterdam (NL)
2017 & 2018 • Guest Teacher, Fine Art department, HKU Utrecht (NL)
2018 • Coach, Winterlab, ArtEz Hogeschool Zwolle in collaboration with Windesheim Hogeschool (NL)
2017 • Exam supervisor, ArtEz Hogeschool voor Kunsten, Docent Beeldende Kunst en Vormgeving Zwolle (NL)
2016 & 2017 • Guest Teacher, Academy of Fine arts and Design, Maastricht (NL)
From 2014 to 2016 • Lecturer Fine Art, Fontys Hogescholen, ABV Academie Beeldende Vorming, Tilburg (NL)
2016 • Guest lecturer AKI, ArtEz, Institute of the Arts, Enschede (NL)
2014 & 2015 • Exam supervisor, Academy of Fine arts and Design, Maastricht (NL)
2015 • Exam supervisor, ArtEz Hogeschool voor Kunsten, Docent Beeldende Kunst en Vormgeving Zwolle (NL)
2014 • Exam supervisor, Minerva Art Academy, Fine Arts department, Groningen (NL)
From 2006 to 2014 • Professor Fine Art, Avans Hogeschool, AKV/St. Joost, Breda & ’s-Hertogenbosch (NL)
2013 • Guest professor AKV/St. Joost Master of Fine Art, ‘s-Hertogenbosch (NL)
2012 • Guest lecturer at the Tan Kah Kee College, art and design department Zangzhou, Xiamen University ( China )
2012 • Guest Professor Fine Art, Rietveld Academy, Amsterdam
2011 • Guest Professor Drawing, Spatial Design department, HKU Utrecht (NL)
2011 • Guest lecturer, ArtEz, Institute of the Arts, Arnhem (NL)
2010 • Guest lecturer, Portfolio workshop, Academy of Fine arts and Design, Maastricht (NL)
2009 • Exam supervisor, art academy, AKI, Enschede (NL)
2008 & 2009 • Guest professor, ArtEz, art academy, Zwolle (NL)
2006 & 2007 • Guest professor exam students Fine Art St. Joost, ‘s-Hertogenbosch
2006 • Guest professor & lecture at the Masters Fine Art - Post St.Joost, Breda (NL)
2000 • Guest professor Multi media, Art Academy ‘s-Hertogenbosch
2000 • Workshop and lecture, at The Academy of Architecture, Tilburg (NL)
2000 • Workshop Photography at the Faculty days 2000, University of Amsterdam
1999 • Guest professor, Workshop multi media, Art Academy ‘s-Hertogenbosch (NL)
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Stipends & Awards
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2021 • Support to continue Art Practice, Mondriaan Fund
2017 • Work budget Hortus Haren/ TAAK - Kunstenaar in Opdracht, Mondriaanfonds
2016 • Work budget 360°BRNDWR Episode #3, Viewmaster Projects, Kunstenaar in Opdracht, Mondriaanfonds
2016 • Work budget Hortus Haren/ TAAK - Kunstenaar in Opdracht, Mondriaanfonds
2013 • Nomination 5x5Castelló13 International Contemporary Art Prize, Espai d´art contemporani de Castelló, Spain
2009 • Project Grand from the BKVB
2009 • Grand for contribution website, Prins Bernard Cultuurfonds, Tijlfonds,
2007 • Nomination Prins Bernhard Cultuurfonds Noord-Brabant, Beeldende Kunstprijs
2005 Basis stipend Fonds voor Beeldende Kunsten, Vormgeving en Bouwkunst (BKVB)
2003-2004 • Travel stipend from he BKVB for one year residency at the CCA, Kitakyushu in Japan
2002 • Work stipend from the BKVB
2002 • Nomination Mama Cash Art Prize
2001 • Work stipend from the BKVB
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Publications / Catalogues
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• Mark Kremer, Manique Hendricks, Florette Dijkstra, Publication 'Wineke Gartz Solo', published by Club Solo, Breda (October 2022)
• De Reis - 12 1/2 Years the Ketelfactory, publication, Published by the Ketelfactory, Schiedam (2021)
• A KOCSMA, publication on the occasion of the jubilee of AiR Pécsbagota/ Post 15 Foundation, Hungary, published by Elizabeth De Vaal / Post 15, The Hague (2020)
• cahier 'Voorjaar 2020 - Wineke Gartz', part of '50 artists, Spring 2020', Published by Ketelfactory, Schiedam (2020)
• BIRTHDAY CALENDAR, drawing contribtions for hausu press birthday calendar, independent publishing platform from Amsterdam, design by Akiko Wakabayashi. Published by ha·u·su press , (Jan 2020)
• F. Dijkstra, J. de Goede, Publication Vestibulum 3, Wineke Gartz, Le rêve, la route, le mur, Kröller-Müller Museum (2019)
• K. Brondo, F. Alondra, '303 Gallery: 35 Years', 303inPrint (2019).
• 'Stil', Catalogue, De Ketelfactory Schiedam (2019)
• Defne Ayas, Blessing and Transgressing: A Live Institute, Witte de With Center for Contemporary Art (2018)
• Catalogue 'Thinging', published by P/////AKT, Amsterdam (2018)
• De Grote Nederlandse Kunstkalender, Trichis Publishing B.V. (2018)
• A. d'Ansembourg, 'Er zit iets achter, over filosofie en kunst', ISVW Uitgevers (2017)
• De Grote Nederlandse Kunstkalender, Trichis Publishing B.V. (2017)
• F. Dijkstra, W. Teschmacher, 'Oerstof', De Ketelfactory, Schiedam (April 2016)
• Lucette ter Borgh, Walking Guide Snapshot of a Larger Order, De Ketelfactory Schiedam (2016)
• Defne Ayas, Samuel Saelemakers, 'WDWXXV: In Light of 25 Years', Published by FKA Witte de With Center for Contemporary Art Rotterdam (Jan 2016)
• Publication DordtYart2015, Published by DordtYart (Jan 2016)
• Laure van den Hout, commissioned by DortYart2015, Over ruimtebeleving in het werk van Niek Kemps, Thijs Ebbe Fokkens en Wineke Gartz (Aug 2015)
• W. Gartz 'Notes before she gets serious', Contribution to Art Magazine Kunstwordtterugkunst Schrift #7 (2015)
• Inez van der Spek, Venus in de ruimte, e-book boenda.nl (2015)
• P. H. Steenhuis, R. Gude, ‘Door het beeld, door het woord’, published by the Internationale School voor Wijsbegeerte (Apr 2015)
• W. Teschmacher, F. Dijkstra, 'Trinitas Highway', De Ketelfactory Schiedam (Apr 2014)
• K. Greenberg, 'Meschac Gaba: The Museum of Contemporary African Art', Tate Publishing (2013)
• Catalogue '5x5Castelló2013 Premi Internacional d'Art Contemporani Diputació de Castelló', Published by Espai d´art contemporani de Castelló, Spain (2013)
• Catalogue 'Once more, unto the breach, dear friends, once more', Lokaal 01, Breda (2013)
• 'Rolling Snowball/3- Guangzhou' at the Redtory, Catalogue CEAC China (2012)
• M. Kemper, E. Luermans, M. Prinse, 'land en kunst en buitenplaatsen 2012', BKKC Tilburg (Nov. 2012)
• Na Kim, GRAPHIC magazine, GRAPHIC #24 Amstersdam Issue, Seoul (2012)
• GLASS Magazine, 'Insights - Dan Graham, What gives you faith', Winter Issue Faith (2012)
• W. Gartz, artist pages for SUB #0, Art Sports & poetry Magazine, Raymond Cuijpers and Cole Verhoeven, Amsterdam (2012)
• 'Disclosures', Publication Exhibition Project 2004-2013, VRIZA Amsterdam (2011)
• Jan Adriaans,'Talisman', an exhibition on paper curated by Jan Adriaans, Peeping Tom Edition, Paris (2011)
• Catalogue ‘Wineke Gartz - Morgana Plains, from silver to gold’, Artswestchester, WP (NY), (2010)
• W. Gartz, ‘Forwards Backwards, een monument voor verandering en bezinning‘, Landbladkunstblad #01, Landkunst2010, BKKC, Tilburg (2010)
• ‘Voor Niks’, free magazine project, www.greylightprojects.org/inkijkexemplaar, Halle (D), Heerlen and Maastricht (NL) (2010)
• Edo Dijksterhuis, ‘Global Contemporary artists for artists’, Catalogue Rijksakademie Endowment Fund /Sotheby’s, Amsterdam, June 2010
• M. Pungello, J. Ormond, Video interviews, 'Double Dutch: A Survey of Contemporary Dutch Installation Art', HVCCA & Artswestchester (2010)
• J. T.D. Neil, J. Ahlberg, FAX, The Drawing Center & Independent Curators International, New York (2009)
• Landkunst in het Groene Woud, brochure, NBKS Breda (2009)
• B. Choi, '30', The Sole Proprietor and other stories, Published by Vitamin Creative Space (2007)
• W. Gartz, ‘Be Strong’, poem-copy book, own publication, dec. ‘07
• T. Karreman, J. Schulze, H. Haye van der Werf [red], Catalogue PRESENT, Kunst bij rijksgebouwen 2004-2006, Episode Publishers ‘07
• A. van der Kuijl, NH-3D, North Holland Biennale, Magazine (2006)
• O. Klijn, D. Murphy, L.Teunissen, Automonografie VMX Architects Agenda, 010 Publishers, ‘06
• W. Gartz, ‘Lief Oost/ Dear East’, Die Keure Brugge (2006)
• T. Tegelaers, ‘ode oost, Wineke Gartz’, Liefde in de Stad, Paradiso en SKOR, Aug‘06
• T. Tegelaers, ‘Sociale Werken, Art at The Ministery of Social Affairs, Rijksgebouwendienst, (2006)
• Hou Hanru, Charles Esche, R. Fleck e.a., ‘If walls had ears – international art 1984-2004, De Appel, Amsterdam, (2005)
• 'Ueno Park - Men become flowers', text Wineke Gartz. Publikation in the series "Disclosures" of VRIZA (february 2005)
• M. Conijn, 'Deventer',catalogue, 'Define Yourself - Defenitions of Space', Deventer (November 2004)
• Catalogue participants 2003-2004 at the CCA Center of Contemporary Art, Research Programm, Kitakyushu, Japan (March 2004)
• She Shows’, Catalogue, Mama Cash Art Prize (2002)
• ‘Being all things to all people’ Catalogue, 7 young artists 2002’, Year 12 No. 1, Nouvelles Images Galery, Den Hague (2002)
• 'Living Apart Together, behind solid walls', catalogue VRIZA, Amsterdam (2003)
• A. W. Balkema, H. Slager, Concepts on the move, Vol.17( Lier & Boog ), Series of Philosophy of Art and Art Theory, Editions Rodopi B.V. (2002)
• S. de Haan / L. van Brummelen, Catalogue ‘Ter Compensatie’, esthetische experimenten in een een nieuwbouwwijk, (2001)
• B. Steevensz, ‘'Library of the museum Vol. 1,Museum of Contemporary African Art, Meschac Gaba’, Artimo, (2001)
• J.-P. Delarge, 'Dictionaire des arts plastiques moderne et contemporains', Paris: Grund (2001)
• J. Guldemond, ‘bericht uit Pusan’, e-interview, Catalogue ‘Buren/Neighbours’, Stedelijk Van Abbemuseum, Eindhoven (2000)
• H. Slager and A.W. Balkema, ‘Wineke Gartz’, ‘PICAF-Leaving the Island’, catalogue, Pusan International Contemporary Art Festival, South Korea (2000/01)
• A.W. Balkema en H. Slager, ‘Filmic Images’, in “Screen Based Art”, Lier en Boog, Series of Philosophy and Art Theory, Volume 15, Amsterdam/Atlanta (2000)
• E. Hoek, Catalogue ‘Bloemen van de nieuwe tijd’, ‘s-Hertogenbosch (2000)
• K. Brailovsky, C. Rodríguez Borja, Catalogue International Photography Biennal, Centro de la Imagen, México D.F. (1999)
• A. van Driel, ‘wineke gartz’, Catalogue ‘Kamerschatten’, KW14 12-28 nov, Drukkerij Biblo bv, s’-Hertogenbosch (1999)
• Publication ‘Unlimited.nl- 2’, Stichting De Appel (Jan 1999)
• Wineke Gartz 'GOLD HURTS', broadcast TV, Kunstkanaal, Amsterdam (1999)
• ‘Postcard’, project in collaboration with Bram Cox, printed by Post St. Joost, Breda (1996)
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Reviews / blogs / TV
•
• René Oomen, Grensgeluiden, Radio interview (9 Oct. 2022)
• Haitian Ma, Medium, Intimacy in the Color Blue: Club Solo with Wineke Gartz (14 Sept. 2022)
• A. de Vries, Mister Motley Magazine, Een nieuw werk in Museum Museum Kröller-Müller (1 May 2020)
• F. Tissink, Opzij, Kröller-Müller Museum toekomstbestendig, Opzij (31 maart 2020)
• Monshouwer Editions, 40. Wineke Gartz ǀ Le rêve, la route, le mur ǀ Museum Kröller-Müller ( 27 Feb. 2020)
• Jegens & Tevens, blog, Le rêve, la route, le mur Wineke Gartz @ Kröller-Müller Museum (14 Jan. 2020)
• Poweredbyart, blog, Otterlo, Le rêve La route Le mur (27 Oct. 2019)
• M. Kemper, De Vos op Maandag blog, maar dan in beelden (21 Nov. 2019)
• Heerenveense Courant, Kjeld Nuis slaat eerste herdenkingsmunt van het Jaap Eden Vijfje (30 Dec. 20)
• M. Alexander, World Mint News Blog, Netherlands: Gold and silver collector’s coins honour great sporting legend Jaap Eden, (31Dec. 2019)
• R. van de Meij, Leeuwarder Courant, Herdenkingsmunt voor Jaap Eden ziet het levenslicht in Thialf, (29 Dec.2019)
• Numismag, 2019 Jaap EDEN commemorative coins from the Netherlands, (5 Dec. 2019)
• Het Parool, Sportheld Jaap Eden geëerd met munt (28 Nov. 2019)
• KNSB Nieuws, Wereldkampioen Jaap Eden geëerd met officiële Nederlandse herdenkingsmunt (28 Nov. 2019)
• IJsclub Haarlem, Sportheld Jaap Eden geëerd met officiële Nederlandse herdenkingsmunt (28 Nov. 2019)
• Poweredbyart, Otterlo: Le rêve La route Le mur (27 Oct. 2019)
• Harener Weekblad, https://harenerweekblad.nl/artikel/738355/geinspireerd-door-de-aarde.html (24 Oct.2018)
• Harener Weekblad, https://harenerweekblad.nl/artikel/738249/nieuw-kunstwerk-in-de-hortus-botanicus.html (6 Oct.2018)
• E. Rijnja,Thank You Plant, de ruimtelijke collages van Wineke Gartz, kM Magazine nr. 107 (2018)
• N. Post, ViewmasterMaastricht, http://www.trendbeheer.com/2017/04/03/viewmaster-maastricht/ (3 Apr 2017)
• S. Monshouwer, Monshouwer Editions, Lorelinde Verhees en Wineke Gartz in P/////AKT http://www.monshouwereditions.nl/lorelinde-verhees-en-wineke-gartz-in-pakt/ (2017)
• V. Hoedemakers, 360 BRNDWR: Wineke Gartz, http://publiekgemaakt.nl/360-brndwr-wineke-gartz/ (26 Dec 2016)
• Patty Morgan, http://wwwpattymorgan.net.blog, Wineke Gartz (10 Nov 2016)
• N. Hendrix, Lost Painters Blog, Wineke Gartz - Ms Candelabra's Platform of Light, http://www.lost-painters.nl/360-brndwr-wineke-gartz-ms-candelabras-platform-of-light/ (3 Nov 2016)
• Viewmaster Projects, video film by Charlotte Lagro: 'Ms Candelabra's Platfor of Light', http://www.viewmaster-projects.com/360-brndwr-3/ (7 Oct 2016)
• K. van der Weide, 'Hortus Sanae krijgt vervolg', Harener Weekblad (24 Sep 2016)
• R. Colee, 'Brandweertoren bewaart daglicht voor 's avonds', De Limburger (23 Sep 2016)
• L. Rijkx, Maastricht Lab, 'Op een andere manier kijken', http://www.maastrichtlab.nl/op-een-andere-manier-kijken/ (19 Sep 2016)
• M. de Vries, 'Verloren en Hervonden', Harener Weekblad (16 Sep 2016)
• S. Monshouwer, Cracking The Frame Presents, Blog: Rupture of Representation, http://www.crackingtheframe.org/blog/2016/5/20/blog-rupture-of-representation (20 May 2016)
• T. Dijkstra, 'Hortus Haren krijgt tijdelijk kunstenaarsverblijf', Dagblad van het Noorden (4 May 2016)
• Art Viewer - Special Feature: In Light Of 25 Years at Witte de With, http://artviewer.org/category/special-features/ (24 Febr. 2016)
• e-flux, http://www.e-flux.com/announcements/latest-from-witte-de-with-publishers-2/, Latest from Witte de With Publishers (Dec 2015)
• Jeanne van der Horst, Video Portrait, Wineke Gartz, https://vimeo.com/156299119, commissioned by DordtYart2015 (Sep 2015)
• Brabants Dagblad, Expositie van Wineke Gartz, Hendrik-Jan Hunneman en Koen Taselaar in Den Bosch (8 Dec 2015)
• M. Martens Serrano, Laying bare a visual logic is a crucial task of a curator - an interview with Samuel Saelesmakers, Artdependence, Contemporary Art Magazine, Vol. 14 November 2015 (Nov. 2015)
• J. Bosch, DordtYart, http://trendbeheer.com/2015/09/26/dordtyart-2015/ (26 Sept 2015)
• chmkoome'sblog: Dordtyart, https://chmkoome.wordpress.com/tag/wineke-gartz/ (2 September 2015)
• R. Verdegaal, Dordtyart, http://robinverdegaal.nl/2015/08/29/dordtyart-2015/ (29 August 2015)
• J. Nieuwenhuisen, DordtYart, http://trendbeheer.com/2015/08/26/dordtyart-3/ (28 August 2015)
• A. Rosenmeyer, Frieze, We are all cats, http://frieze-magazin.de/archiv/kritik/we-are-all-cats/?lang=en (20 June 2015)
• NPO Radio 1, 'Het allerbeste' volgens Brigit Donkers, http://www.radio1.nl/item/294030-%27Het%20Allerbeste%27%20volgens%20Birgit%20Donker.html# ( 26 May 2015)
• Chmkoome's blog: In Light of 25 Years, https://chmkoome.wordpress.com/tag/wineke-gartz/ (3 May 2015)
• Incubate Blog: http://inlog.org/2014/05/30/psyched-for-eindhoven-psych-lab-yet-five-tips-not-to-miss-before-you-lose-your-mind/ (30 May 2014)
• The Sleeping Shaman: http://www.thesleepingshaman.com/interviews/r-z/eindhoven-psych-lab-according-to-radar-men-from-the-moon-and-fuzz-club-records/ (15 May 2014)
• The Daily Indie: Eindhoven Psych Lab: http://www.thedailyindie.nl/#!02-eindhoven-psych-lab/crlt (3 May, 2014)
• HenkPeter Steenhuis, 'Door het raam naar een andere wereld', Trouw, Letter & Geest (12 April 2014)
• Kim Zeegers, 'Wineke Gartz, Trinitas Highway', Video Interview, The Ketelfactory (2014)
• Chmkoone's blog: 'Trinitas Highway': http://chmkoome.wordpress.com/tag/wineke-gartz/ (9 March 2014)
• C. Samsom blog, ‘Njet - of Nja’, http://www.corneliesamsom.com/
• Nomepierdoniuna Net: Explora los Lugares, Narraciones Distanciamientos y Cuestionamientos del Espai d’Art Contemporani : http://www.nomepierdoniuna.net/2013/12/21/explora-los-lugares-narraciones-distanciamientos-y-cuestionamientos-del-eacc/ (21Dec 2013)
• P. Kimpanpää, 'Lintu laulaa kädelläsi sähköisesti', Kymen Sanomat, Finland (2 June 2013)
• K. Jalarvo, 'Mediataide valoittaa Kotkan', Kymen Sanomat, Finland (31 May 2013)
• Piet Mondriaan blog: Wineke Gartz, Hot Freaks: http://pietmondriaan.com/tag/wineke-gartz/ (2013)
• Joyce Roodnat, 'De shock van Hot Freaks, 17de-eeuws en recent' (NRC gaat uit), NRC Handelsblad (10 Jan 2013)
• Chmkoome's blog: http://blogger.xs4all.nl/chmkoome/archive/2013/01/14/802681.aspx (13 Jan 2013)
• Lost Painters blog, 'Nest; Wineke Gartz - Hot Freaks': http://www.lost-painters.nl/nest-wineke-gartz-hot-freaks/?fb_source=pubv1 (9 Jan 2013)
• E. Jansen, 'Pictured #48' blog: http://jegensentevens.nl/2012/12/pictured-48/ (28 Dec 2012)
• E. van Lingen, S. Copla, R. Nijman, Nest TV #7, Hot Freaks, accompanying the show Hot Freaks at Nest by Wineke Gartz. Nest, The Hague (Nov. 2012)
• C. Wu, ‘Keeping the art ball rolling’, Common Talk, Xiamen Daily, China (Nov. 2012)
• Rolling Snowball/3, Guangzhou News, China. (Nov 18th. 2012)
• H. Hagenaars, 'De wandelaar vertrekt vanuit Marres Maastricht'. Mister Motley blog: http://mistermotley.nl/Hanne_Hagenaars/2012/10/11/De_wandelaar_vertrekt_vanuit_Marres_Maastricht/ (11 Oct 2012)
• Drawings & Notes, A drawing show curated by Dan Graham Galerie, Galerie Micheline Szwajcer, http://drawingsandnotes.blogspot.nl/2012_07_01_archive.html (30 July 2012)
• Whatspace, Wineke Gartz, http://www.whatspace.nl/nieuws/wineke-gartz-/-transporting-studio-to-the-brain.html (22 June 2012)
• S. Gompers, Impose Magazine, http://www.imposemagazine.com/features/bothering-wooden-shjips-nash-whalen, Bothering; 'Wooden Shjips' Nash Whalen', (9 Nov 2011)
• A. Berentsen, VPRO 3 voor 12: http://3voor12.vpro.nl/artikelen/tilburg . ‘Wooden Shjips neemt je mee in een twee uur lange trip. Beeld en geluid gingen nog nooit zo goed samen’, (20 Sept 2011)
• http://www.clubcircuit.nl/fotoverslag-incubate-2011-3/
• 
J. Verlyen, Cultus; www.cultusonline.be, ‘Incubate 2011: Review’, (19 Sep 2011)
• 
Rocknews – New Frontiers; http://www.new-frontiers.nl . ‘Incubate 2011 uiterst succesvol verlopen,’ (19 Sep 2011)
• J. Brand, Kicking the Habit; www.kickingthehabit.nl, ‘Wooden Shjips na aarzelende start alsnog in Bloedvorm op Incubate’, (19 Sep 2011)
• Gonzo Circus, http://www.gonzocircus.com, ‘Gonzo goes Incubate 2011’, (22 Sep 2011)
• Admin, FreshVids; Kickass Cultvideo uit Tilburg; http://freshvids.nl/blog/wineke-gartz-plays-with-wooden-shjips-incu11/ , (16 Sep 2011)
• NU.nl; http://www.nu.nl/muziek/2617105/incubate-neemt-tilburg-.html ‘Incubate neemt Tilburg over’, (16 Sep 2011)
• G. van Hoven, ‘Festival Incubate omarmt het punkethos ‘doe het zelf’, Brabants Dagblad, (17 Sep 2011)
• J. Verleyen, Cultus; www.cultusonline.be . ‘Wooden Shjips: We zijn geen retro facsisten’, Interview, (10 Oct 2011)
• M. Wijffelaars, ‘Jofrahoeve décor voor kunstproject, opvallend beeldhouwwerk in weiland Esch’, Brabant Cenrtum Nr. 34 (26 Aug 2010)
• M. van Eck, ‘Ode aan verdwenen platteland’, Brabants Dagblad, (12 July 2010) ‘Openingsweekend Landkunst 2010 ook in Liempde’, Brabants Dagblad, (14 June 2010)
• G. van den Hoven, 'Dertig kunstenaars in 'The Destroyed Room'', Brabants Dagblad, (17 Feb 2010)
• Ben Genocchio, '400 Years Since Hudson, to a Pulsing Beat', New York Times, (8 Jan 2010)
• G. Gouveia, 'Artist Projects a New Image of White Plains', Westchester Eye, (9 Jan 2010)
• Tracy Dutton Ludwig, 'A tale of two cities', The Scarsdale Inquier, (31 Dec 2009)
• K. Rosenberg, New York Times, (8 May 2009)
• G. van den Hoven, 'Expositie met grote mond', Brabants Dagblad, ( 4 Dec 2007)
• AT-5 news, Amsterdam, television broadcast,Wineke Gartz about ‘Lief Oost en de Indische Buurt, (6 Oct 2006)
• E. Beets, NH-3D, Keuze, Palet 4, Year 62, (Aug/ Sept. 2006)
• M. Leij, ‘Geen balans betrokken en esthetische video’s’, NRC Handelsblad, (29 June ’06)
• 'Wineke Gartz, Ueno Park', Voorkeur Amsterdam, NRC Handelsblad, (24 Feb. '05)
• I. van der Spek, 'Kostbaar ego op het spel zetten’, De Humanist No.2, (April 2003)
• S. Spijkerman, 'Reageren op de chaos', Smaak, Tijdschrift van Rijksgebouwendienst, nr. 12, (2003)
• G. van der Linden, BC, Tijdschrift voor Kunst en Cultuur, nr. 7, Year 51, ‘Zwerfkatten, maanlicht en het Instituut Neerlandais - Wineke Gartz, beeldend kunstenaar’, (2002)
• A. Spaninks, ‘Wereldbeelden van Wineke Gartz’, Eindhovens Dagblad (14 Dec 2000)
• A. Demeester, 'Koorts en drang', Tijd Cultuur (B) (2 Feb 2000)
• L. Lambrecht, ‘Pitch fever’, De Morgen (B), (4 Feb 2000)
• Echos de la Presse (F), ‘Installation fin de siècle’, (No 43, hiver 99/2000)
• M. van Hulten, 'Woonkamer leeggeruimd om kunst te tonen', Volkskrant, (25 nov 1999)
• NPS. Ned.3, broadcast TV, ‘Middageditie’, ‘Kamerschatten’, (24 Nov 1999)
• A. van Driel, ‘Opgenomen in een schimmenrijk’, Couleur Locale, De Volkskrant, (20 Oct 1999)
• R. Schumacher, ‘Bevroren gejoel’, Galerie, Het Parool (14 Oct 1999)
• A. van den Burgt, ‘Terugkijken, stilstaan en vooruit kijken. Expositie van Wineke Gartz in Nederlands Instituut Parijs’, Eindhovens Dagblad (12 Oct 1999)
• Archis Issues 1-6, Stichting Wonen, Amsterdam (1999)
• J. van Elsberg, ‘Wineke Gartz’, Art house, Skrien filmmagazine (June-nr. 1999)

Wineke Gartz exhibits in the Netherlands and in various countries worldwide. Her site-specific installations consist of complex overlays of imagery and media, often with the use of music and multiple video and slides projections and with the integral use of the architectural space. Her parallel realities include mixing the ordinary with the heroic, creating an almost hallucinatory experience. Her subjects relate to psychology, beauty, illusions and perception, nature and urban life, art and mass media. 

Wineke Gartz, (Eindhoven, NL, 1968) lives and works in Amsterdam, and was educated at the Academie voor beeldende vorming in Tilburg, Post Graduate St. Joost in Breda, and The Rijksakademie in Amsterdam. Her practice began as a painter, and this has continued to inform her work as a multi media artist working with video, collage, drawings, and photography. She is most known for her site-specific installations, which use multiple video and slide projections, music, and light. Gartz is fascinated by the constantly shifting meaning of the photographed, projected and copied image – especially, how the image is received, remembered or forgotten – and its relation to the body and mind within time and (architectural) space. Her subjects relate to psychology, beauty, death, illusions, perception, art, mass media, and nature and urban life. She works in situ to compose her installations. Depending on the project and the space, she uses glass, construction materials, as well as designs special screens, and structures in the architecture, which are used to display and project images onto. (Pop)music is often used to create extra layers of meaning and to set the rhythm and pace. Gartz prefers the outcomes of her work to be open and fluent. Each work grows into the next, and each presentation represents a moment in a series of fluid transitions where the stream of images becomes temporarily fixed in a gallery installation. The imagery is an almost overloaded layering of her recorded observations and thoughts, where meaning reveals itself to the viewer through a prolonged engagement with the work. It is almost as if she is creating a series of feedback loops with the world and her engagement with it. This autobiographical nature of Gartz’s work enables the artist and the audience to share a consciousness about the world and the self.

In 2000 Wineke Gartz participated in the Busan Bienalle, South Korea. This first encounter with Asia led to a year long working period at the CCA Center of Contemporary Art in Kitakyushu, Japan (2003-4), as well as working visits in 2004 and 2012 to China (Xiamen and Beijing) and Hong Kong. Since 2008, these journeys have were followed with trips to the USA to make recordings. These have led to a solo exhibition at Artswestchester in White Plains (NY, 2009), working with San Francisco based psychedelic rock band Wooden Shjips for a collaboration at the Festival Incubate (Tilburg, NL, 2011), and participating in group show 3 artsits selected by Dan Graham and a work by Dan Graham at 303 Gallery, New York City. Her solo exhibitions include: Ueno Park, Disclosures IV, VRIZA, Amsterdam (2005), Hot Freaks, Nest, The Hague, (2012), American Pain, 3A Gallery, New York (2013), Rock Garden, De Nederlandsche Bank Kunstcollectie, Amsterdam (2018), Le rêve La route Le mur, Kröller-Müller Museum, Otterlo NL (2019). Groups show include: Neighbours, VanAbbemuseum, Eindhoven, NL (2000), Fax, The Drawing Center, New York (2009), Rolling Snowball/3-Guangzhou, Redtory, Guangzhou, China (2012), 30 Days of Peace Love And Painting, curated by Ellen de Bruijne & Jeremiah Day, Ellen de Bruijne Projects, Amsterdam (2012), Systems Operations, curated by Kenneth White, Eli Ridgway Gallery, San Fransisco, USA (2012), 5x5Castelló13 Art Prize, Espai d´art contemporani de Castelló, Spain (2013), Trinitas Highway, Ketelfactory, Schiedam, NL (2014), KIVEAF, Kotka, FIN (2013), In Light of 25 Years, Witte de With, Center for Contemporary Art, Rotterdam (2015), Modus Operandi, Kunstvereniging Diepenheim, Diepenheim (2016), Happy New Year 3A Gallery, 3A Gallery, New York (2018). Her work is included in various private collections, and public collections include Swiss Re, Switzerland, The Tate, London, England.

 

The site-specific installation 'If I had one image this would be enough, If I had two images this would be ... II' was part of the group show 'Modus Operandi', curated by Alexanra Landré at Kunstvereniging Diepenheim. 

Wineke Gartz

 

“Ik zet alles in het werk om een bevrijding van het denken mogelijk te maken, om meerdere dimensies te openen voor lichaam en geest”. Deze ambitie van Wineke Gartz is terug te zien in haar grootschalige installaties. Het zijn multimediale belevingswerelden waarin de bezoeker binnenstapt. Projecties, beelden, tekeningen, objecten en gevonden voorwerpen vloeien constant in elkaar over en vormen een totaalervaring. Het is een collectie aan fragmenten en zintuiglijke indrukken uit een persoonlijke als ook collectieve beeldcultuur die in een grote stroom opgaan. Voor het werk 'If I had one image this would be enough, If I had two images this would be ... II' maakt Gartz onder ander gebruik van beelden uit stedelijke omgevingen, wellicht herkenbaar maar toch onbekend. Het is deze werking van beelden die Gartz fascineert ‘Wat zijn beelden eigenlijk:vastgeroeste denkbeelden, projecties, illusies, mythen? Ik wil het beeld graag bevrijden, ontkaderen’.  Om dit te bewerkstelligen zet Gartz in op het proces van kijken - niet als louter visuele perceptie, maar als geheel zintuiglijke ervaring. De compositie van deze ervaringsruimte vraagt om nauwkeurige afweging van alle elementen. Het is een wisselwerking tussen het analytische kijken, reflecteren op beleving evenals intuïtieve kennis. De nadruk komt te liggen op een gewaarwording van het belevingsproces door zich er ruimtelijke doorheen te bewegen.

 

Het resultaat is een ruimtelijke choreografie, die ieder beeld weerkaatst, voelbaar maakt en weer open breekt en zich oplost in het moment, om zo ruimte te maken voor nieuwe ideeën. 

 

Speech over 'Rock Garden' van Wineke Gartz – door Mark Kremer

We staan hier te midden van beelden die stromen. Opnames van Amsterdam, de voortdurende beweging in de stad, en de simultaniteit van de gebeurtenissen. We maken deel van uit van het kunstwerk. Het heet Rock Garden en is gemaakt door Wineke Gartz, ± 'n jaar geleden is zij begonnen met denken en ontwerpen, en de laatste dagen was ze hier bezig met de afstemming van de onderdelen. De kunstenaar heeft het kunstwerk speciaal gemaakt voor deze plek. Dat is cruciaal.

Rock Garden heeft vele onderdelen: op de wanden zijn meerdere video-projecties, enkele dia's, er hangen een paar tekeningen. Op de vloer enkele objecten, zoals twee balen die door het licht veranderen in zilver en goud. Dit type kunstwerk kent vele benamingen: multi-media installatie, immersive environment, site-specific (ofsite sensitive) installatie. Ik noem het een kunstwerk-als-omgeving. Bijzonder vind ik de afstemming van alle onderdelen. Hoe verschillende beelden en "werelden" in elkaar scharnieren, en het ene in het andere overvloeit - dingen vinden elkaar.

Dit is 'n poëtisch werk ('n tikje wild ook, enigszins psychedelisch, trippy). Wineke Gartz's beeld-combinaties zijn "ongerijmd", wat spannende effecten geeft, bv. 't uitvergrote handschrift beïnvloedt de manier waarop je naar de beelden van een gebouw kijkt. Octavio Paz schreef in 1953 't gedicht El río/De rivier, hij was toen in Genève chargé d'affaires van de Mexicaanse ambassade. Denkelijk is dit gedicht 'n portret van die stad. Hierbij de eerste tien strofes/regels (in totaal zijn er 48):

De slapeloze stad cirkelt door mijn bloed als een bij.


En het vliegtuig dat een lange kreunende S trekt, de trams die blijven steken op afgelegen hoeken,

de boom zwaar van scheldwoorden waaraan iemand schudt op het plein in het holst van de nacht,

de geluiden die opkomen en exploderen en de andere die voorbij glijden en een geheim fluisteren dat zich boort in het oor,

openen de duisternis, afgronden van a's en o's, tunnels van zwijgzame vocalen, galerijen die ik geblinddoekt doorloop, het slaperige alfabet valt in het gat als een rivier van inkt,

en de stad komt en gaat en haar stenen lichaam versplintert aan mijn slapen, de hele nacht, standbeeld na standbeeld, fontein na fontein, steen na steen, de hele nacht lang

zoeken haar scherven elkaar in mijn voorhoofd, de hele nacht lang praat de stad in haar slaap door mijn mond,

een naar adem snakkende verhandeling, een gestamel van wateren en twistende steen, haar verhaal.



***

Het kunstwerk van Wineke Gartz deelt overeenkomsten met 't gedicht van Paz. In beide werken wordt de stad als landschap "uitgerold". Beelden dompelen ons onder in een polyfonie van indrukken en ervaringen: Amsterdamse scènes van 't gewone leven worden afgewisseld met exterieurs van De Nederlandse Bank - de parkachtige zoom met rotsen in het gelid. Alles speelt zich af rond een of ander "bewustzijn": er is geen allesbepalende "ik-figuur" maar wel 'n zeer ontvankelijke ontvanger van sensaties (verg. Lucebert): iemand die in 't oog van de storm staat.

Het gebouw van de bank is door de kunstenaar als het ware opengebroken en de omgeving vloeit met volle kracht naar binnen. Dit kunstwerk maakt dus ook een gebaar, het belichaamt 'n actie, en die lijkt afgestemd op de nabije toekomst van de bank wanneer de goudvoorraad niet meer hier zal zijn, het instituut een open karakter kan aannemen, en er een openbaar toegankelijke expositieruimte komt.

Rock Garden is een kunstwerk dat deze plek bezweert. Het werpt verlangen "in de strijd" - naar vergezichten die dichtbij verschijnen. De titel verwijst naar de rots- of zentuinen zoals de in Kyoto (The Temple of the Dragon at Peace). Die tuin Ryōan-ji bestaat uit fijne kiezels waar 15 stoere rotsblokken op rusten, zo geordend dat je vanaf welk standpunt dan ook er maar 14 ziet. De Zentraditie zegt dat iemand, nadat hij/zij Verlichting heeft gekregen, de vijftiende rots zal kunnen ontwaren.

Wineke Gartz ziet 't werk als een vorm voor meditatie. De kolkende stroom van je gedachten onder ogen zien, zelf de stilte in de storm worden, dat is een van de uitdagingen van haar Rock Garden. De stad zien/ervaren als een landschap is een andere. Wanneer strelen we de rots, luisteren we rustig naar stadsrumoer, kijken we aandachtig en worden we geraakt door 'n fietser wachtend voor het stoplicht?

Ze mengt onrustige stadsbeelden met landelijke scènes, opeens gaat er 'n enorme weldadigheid uit van riet wiegend op wind. Dan weer komt uit een fabriekspijp een grote sliert donkere rook die de vorm aanneemt van een wolk dichtbij. Een beeld van vervuiling - de schoonheid van deze scène doet ons dit haast vergeten.

Drie zwarte tassen op de grond, ijzeren staven en hekwerk staan tegen de muur. Symbolen van dreiging en bescherming/verdediging? Marianne Moore's sterke karakterisering van poëzie lijkt mij ook van toepassing op kunst: "[Art] is about imaginary gardens with real toads in them." Wineke Gartz zegt over Rock Garden dat de beelden maar simpele plaatjes zijn, die echter oprechte aandacht kunnen opwekken, het gaat om leven, dingen die echt zijn, waar we van kunnen houden. In zo'n opmerking, zo'n observatie schuilt een utopische gedachte, over 'n betere wereld, Wineke Gartz is opgegroeid in 'n gezin dat midden in de jaren '60 stond, ze heeft de idealen uit die tijd meegekregen en ze omarmt die idealen nog steeds.

***

Sinds ca. 1997 heeft Wineke Gartz ruimtelijke multi-media installaties gemaakt. Vaak wordt er een hele "wereld" verbeeld. Daarmee doet haar werk mij denken aan kunstenaars zoals Douglas Huebler, Fischli & Weiss en Diana Thater. Dat zijn uitgesproken analoge artiesten, volgens mij; Huebler bv. wilde op een zeker moment alle pasgeborenen over de hele wereld fotograferen. De reizen zouden 'm overal hebben gebracht, maar 't ging hem vooral om contact, de ontmoeting. Van deze artistieke ambitie om de wereld te omvatten gaat 'n underground-achtig élan uit. Het idee/ontwerp valt nooit te realiseren, maar dat is ook aanstekelijk.

Door de stad als landschap weer te geven, creëert de kunstenaar mogelijkheden voor dagdromerij. Zo kunnen wij 'n andere aandacht oefenen en ons verbinden met beelden die al leven in het onderbewuste. Zo hangt er hier een nagetekende "droomkaart" van de Tsjoektsjen. "Kaarten wijzen de weg en verminderen het risico van verdwalen. Hier lopen de wegen naar de werelden van de dageraad, van de avond en de duisternis door de poolster, de as van de wereld, terwijl zon, maan en sterren gelijktijdig stralen." Hier gaat het om de innerlijke reis, om het innerlijke en geestelijke compas, en specifiek om de ervaringen van een sjamaan.

Wij zien lichtbeelden en schaduwbeelden. Diverse werkelijkheden doordringen elkaar, de kunstenaar last twee projecties aaneen en boven een rots wuift het riet. De vorm van 'n huls (ruimtelijke echo van de zuil in deze ruimte) - feitelijk wordt deze vorm door een VJ-programma gegenereerd - dient als een incubator voor wisselende realiteiten. De huls wordt steeds gevuld met nieuwe inhoud: binnen in spelen zich steeds andere scènes af. Dit lijkt op de schepping van 'n demiurg.

De lage felle zon maakt dat de stadsbeelden iets hebben van 'n trippy dagdroom. Ik denk aan de Fotorealisten, Richard Estes schilderde in de jaren '70 fronts van bars in New York, een deur van glas voert de blik naar binnen waar een enorm intens licht heerst, vanwege allerlei glanzende oppervlakken. Die werken trillen van electriciteit. Hoe anders is het hier. De beelden van Wineke Gartz nodigen uit een reis te maken en dat is tevens een mystieke reis, één van innerlijke inkeer.

In alle werveling is rust. Op de meest onverwachte plekken. Er hangt hier een andere tekening, van een goedmoedig mannetje, gebaseerd op een foto van een standbeeld ergens in Ethiopië ter ere van 'n groot krijger die veel vijanden heeft gedood. Alsof de krijger opnieuw geboren wordt. Misschien ervaren we hier, en passant in het geheim, het motief van Wineke Gartz, waarom 't haar te doen is, nl. het veranderingsproces. In dit werk staat interactie centraal, hoe het een op het ander inwerkt, een symbolisch beeld voor hoe de ene mens een ander kan raken.

Uitgesproken in de kunstruimte van De Nederlandse Bank, 15 november 2018.

Talk by Mark Kremer at the opening of ‘Rock Garden’, Wineke Gartz


We are standing here amid streams of images: recordings of Amsterdam, the constant movement in the city, and the simultaneity of events. We are part of the artwork. It is called Rock Garden and was made by Wineke Gartz. She started thinking about and designing the work about a year ago, and in the last few days, she was here aligning all its elements. Crucially, the artist composed the artwork specifically for this place.

Rock Garden has many components: several video projections are screened onto the walls, some slides too, and a few of her drawings are hanging. On the floor are some objects, such as two bales that glow silver and gold in the changing light. This type of artwork has many names: multi-media installation, immersive environment, site-specific (or site-sensitive) installation. I call it an artwork-as-environment.I find the alignment of its components remarkable, how different images and ‘worlds’ hinge upon one another, the arrangement of different flows – things find each other.

This work is poetic (a bit wild too, somewhat psychedelic and trippy). Wineke Gartz’s image combinations are ‘incongruous’, creating exciting effects. For example, the enlarged handwriting influences the way you look at the images of a building. In 1953 Octavio Paz wrote the poem El río (The River) when he was chargé d’affaires of the Mexican embassy in Geneva. This poem is probably a portrait of that city. Here are the first ten of the poem’s 48 lines:

The restless city circles in my blood like a bee.

And the plane that traces a querulous moan in a long S, the trams

that break down on remote corners,

that tree weighted with affronts that someone shakes at midnight in

the plaza,

the noises that rise and shatter and those that fade away and

whisper a secret that wriggles in the ear,

they open the darkness, precipices of a’s and o’s, tunnels of taciturn

vowels,

galleries I run down blindfolded, the drowsy alphabet falls in the pit

like a river of ink,

and the city goes and comes and its stone body shatters as it arrives

at my temple,

all night, one by one, statue by statue, fountain by fountain, stone by

stone, the whole night long

its shards seek one another in my forehead, all night long the city

talks in its sleep through my mouth,

a gasping discourse, a stammering of waters and arguing stone, its

story.


Wineke Gartz’s artwork shares similarities with Paz’s poem.In both works, the city is ‘rolled out’ as a landscape. Images immerse us in a polyphony of impressions and experiences: scenes of daily life in Amsterdam alternate with exterior shots of De Nederlandse Bank, its park-like perimeter punctuated with a parade of rocks. Everything takes place around some kind of ‘consciousness’: there is no all determining ‘I figure’, but instead a very receptive receiver of sensations (compare with Lucebert): someone who stands in the eye of the storm.

The artist has opened up the bank building, as it were, and the surroundings flow in with full force. This artwork therefore enacts a gesture: it embodies a deed that seems to tell of the bank’s near future when the gold supply will be removed; when the institute can assume an open character and have an exhibition space for the public.

Rock Garden is an artwork that exorcises this place.It throws desire ‘into battle’ – for vistas that appear nearby. The title refers to rock or Zen gardens, such as the Ryōan-ji (The Temple of the Dragon at Peace) in Kyoto. This garden consists of a bed of fine pebbles upon which rest fifteen sturdy rocks arranged in such a way that one can only see fourteen from any one position. Zen tradition says that upon enlightenment, one is also able to see the fifteenth rock.

Wineke Gartz sees this artwork as a form for meditation: to face the swirling stream of your thoughts, to become the silence in the storm yourself. This is one of the challenges of her Rock Garden; another is seeing or experiencing the city as a landscape. When do we caress the rock, listen quietly to city noise, look carefully, and are touched by a cyclist waiting at the traffic light? Gartz intertwines restless cityscapes with rural scenes. A reed swaying in the wind reveals immeasurable grace. A string of dark smoke comes from a factory chimney, taking the form of a cloud nearby – the scene’s beauty almost makes us overlook the pollution it depicts.

Three black bags on the ground. Iron bars and fencing stand against the wall. Are they symbols of threat, protection, or defence? Marianne Moore’s strong characterisation of poetry also seems to apply to art: ‘[Art] is about imaginary gardens with real toads in them.’ Wineke Gartz describes the imagery in Rock Garden as simple vignettes that can, however, arouse heartfelt attention as they concern life, things that are real, things we can love. In her remark and observation, we sense a utopian creed of a better world. Her upbringing in a family firmly rooted in the 1960s instilled her with that period’s ideals, which she continues to embrace.


Around 1997, Wineke Gartz began making spatial, multi-media installations, often depicting an entire ‘world’. Her work reminds me of artists such as Douglas Huebler, Fischli & Weiss, and Diana Thater – all outspoken analogue artists, in my opinion. Huebler, for example, once wanted to photograph all newborn babies around the world. The journeys would have taken him everywhere, but he was specifically interested in contact, the encounter. This artistic ambition to embrace the world emanates an underground-like élan. The idea or design is as unrealisable as it is communicable.

By representing the city as a landscape, the artist creates opportunities for daydreaming. Thus, we can train another awareness and connect to images already inhabiting the subconscious. For example, here hangs a copied ‘dream map’ of the Chukchi people. ‘Maps show the way and reduce the risk of getting lost. Here the paths run to the worlds of the dawn, the evening, and the darkness, through the pole star, the axis of the world, while the sun, moon, and stars all shine at once.’ This is about the inner journey, the internal and spiritual compass, and specifically the experiences of a shaman.

We see light images and shadow images.Realities permeate one another, the artist merges two projections, and the reed sways above a rock. A vessel form (echoing the column in this space) – in fact, this form is generated using VJ software – functions as an incubator for changing realities. Thevessel is steadily filled with new content: inside, different scenes always play. It is like the creation of a demiurge.

The low bright sun instils the urban imagery with a trippy, daydream-like quality. It reminds me of Photorealist paintings: the fronts of bars in New York painted by Richard Estes in the 1970s, where a glass door leads the eye inside to an array of shiny surfaces that generate an incredibly intense light. Those works vibrate with electricity. But here it is different. Wineke Gartz’s images invite you on an inner passage – a mystical journey: one of introspection.

In turbulence is stillness – in the most unexpected places. Here hangs another drawing. It depicts a kindly man and is based on a photograph of a statue, somewhere in Ethiopia, honouring a great warrior who killed many enemies. It’s as if the warrior is reborn. Perhaps what we experience here – and, en passant, in secret – is Wineke Gartz’s motive and what she is aiming for, namely the process of change. Interaction is central to this work, how one thing affects the other; a symbolic image of how one person can touch another.


This talk was given at the art space of De Nederlandse Bank, 15 November 2018.
Talk by Mark Kremer at the opening of ‘Rock Garden’, Wineke Gartz

Wineke Gartz
Notes before she gets serious

I make every effort to enable a liberation of thought and to unlock multiple dimensions for body and mind. This happens in the here and the now and in or near the work of art. My endeavours revolve around the individual viewer’s freedom, aiming to stimulate their perspective and consciousness and, even more ambitiously, to liberate ones way of looking. The past and the future can be experienced in the present, potentially dissolving into it, and it is within this space that new ideas are born.
The viewer’s sensing, awareness, and movements are significant departure points. Moreover, there is almost always a connection with the exhibition space’s place and architecture. I blend different worlds with the space in which I am working at that moment, inviting the audience to wander and find grounding there. By deploying sound, projections, objects, and drawings, all influencing one another, I evoke a holistic experience that bridges and marks the transition between conscious and unconscious experience. Memory plays a pivotal role throughout this process.
In both experiencing the work and its surrounding space, especially in the more complex installations, I perceive ‘sequences’. An example of such a sequence would start with composing, then shift to focusing, observing, emotional resonance, becoming conscious, being conscious, resuming movement, and eventually circling back to composing, creating a continuous cycle.
Information is transferred, releasing energy, and yielding a concentrated sensing like that experienced during meditation. This state embodies a mystical experience – a realm of pure perception where knowledge is released.

During the summer of 2012, I worked in Xiamen, a port city mainly situated on an island off China’s southeast coast. Across the bay, near Zhangzhou, a new island was being constructed in the water. Explosions would shatter parts of the mainland mountains, and the resulting sand and debris were deposited into the sea to make this island. It was designed in the form of a yin-yang symbol and was to be named Double Fish Island. The mountain traffic would grind to a halt daily as loud explosions jolted the bay area populace. When the wind blew in the right direction, the sound of these detonations reached all the way to Xiamen.
Zhangzhou, once characterized by mountains, agricultural lands, and a few fishing villages, was undergoing a radical transformation. Echoing the rapid developments seen across China, a new city was quickly emerging. Its opulent residential areas bore a striking resemblance to medieval Spanish villages, complete with Romanesque churches.
I wanted to capture the turbulence and ferocity of the construction activities, but on the day I eventually went to the island, all building activities had come to a standstill. There wasn’t a soul in sight. Yet, amid the serene atmosphere and the expanse of sand and water, a magical aura enveloped the island. The previous day’s rainfall had left behind scattered puddles and pools, glistening under the sun’s rays that bathed the island and sky in a captivating, deep hue. As the day drew to a close, I intended to head back and catch the ferry. Instead, I found myself lured in the opposite direction. I came across sand piles deposited by tipper trucks and noticed a perfectly geometrically shaped mound. All around were puddles, as if a delta had been formed by streams and rivers, teeming with vibrant young grass and weeds. It was a scene of paradisiacal beauty.

Geometric shapes, like the sand mound I encountered on Double Fish Island, recur constantly in my work. These shapes evoke energy. For me, the pyramid stands as a symbol of ancient wisdom lost to time. I ponder the vast troves of knowledge relegated to oblivion or deliberately erased. I contemplate ways to reclaim access to these insights. Can unity and balance be re-established from the pervasive fragmentation and chaos, particularly in the relationship between humanity and nature? Nowadays, the internet and open-source technologies weave everything together at lightning speed. However, I am also concerned with how to make things ‘small’ again, giving them a human scale and making them relevant to our lives.
I believe I oscillate between instability, vastness, multiplicity, and incomprehensibility on one hand and smallness, fragmentation, comprehensibility, and tactility on the other. Underlying this is the question: how do humans live, and how ought they to live?
Nowadays, artists appear to be moving away from using metaphors and contrasts, favouring a more practical approach that emphasizes conveying solutions. However, I admire the increasing collaboration among artists. Personally, I feel caught between the old and the new, seemingly navigating a form of trauma processing related to the past.
It’s as if I need to heal the images because they have been abused, just as people have been abused. I believe that images and memories that have been hidden and repressed can be unleashed in the viewer, and I try to understand how this process unfolds.

I need a lot of material to start my installations. From this abundance, I create a pathway and establish an order akin to composing music, much like the improvisational essence of jazz. It’s a logical translation of the overwhelming impressions people face and process in this globalizing and media-saturated world. On a conscious level, recognizing every detail exactly isn’t necessary, but they are there. Everything is of influence. Interactions emerge through extended engagement with the work. Fragments of imagery you saw a few minutes earlier evolve into what you see at a later moment. Being in the work is something beyond words. It’s about unleashing rather than straightforward comprehension. Though images can chase and haunt you, it’s good when they move, whirl, and generate energy.
But what exactly are images? Are they fixed conceptions, projections, illusions, or myths? Can they be undone? Dreams can transition into thoughts; thoughts can be expressed. Spoken words can transform into action, ultimately materializing as manifestations. Within the stream of images, I aim to reveal glimpses of paradise, something intrinsically positive – affirming its existence.

We are often brainwashed with the belief that humanity is inherently wicked, evil, and consumed by fear and hate. However, one can also begin from the standpoint of love. When you do this, it’s like a homecoming. In drawings such as ‘The Back Home Home’, ‘Good Trip, Bad Trip’, and ‘Welcome Back Men and Women’, I explore phrases or words from multiple angles, transforming them into vivid images or slogans. I imbue them with weight before infusing them with humour and lightness. Within these creations, light and dark find balance, aiding in navigating fears and confronting demons, ultimately prompting personal transformation, leading to a point where you might no longer recognize yourself.
My installations reflect a cyclical journey towards light by delving into the depths and returning – a perpetual journey akin to breathing, an endless ebb and flow. The arrangement of my installations remains transient; nothing is immutable. The process revolves around trust and embracing the ongoing voyage.

I often film various locations where construction is in progress, just before a building is occupied, and always in relation to the four elements. In doing so, I capture moments or periods of passage, such as shifts in weather, changing seasons, the transition from day to night and from water to earth (at beaches and rivers), the stirring of the wind, and so on.
The beach, the sea, people at play, and surfers are recurring components. The water and the beach are representative of humans who can find harmony with the elements through physical prowess, navigation, and technology, such as the cleverly formed, human-designed surfboard. Footage captured at Scheveningen Beach, featuring families and surfers, is pivotal in ‘Hot Freaks’ (2012) and ‘Falling Rising, Falling Rising, Falling, Rising, Falling Rising, Katariinas Landing I’ (2013).
Water also represents the flow, the ever-changing and the adaptive, as well as the destructive and the cleansing – a means to release traumas and shed old things that once provided stability but are no longer necessary. We have reached the Age of Aquarius that the hippies envisioned in the 1960s. This may sound esoteric, yet it pertains to an ancient system of planetary cycles with their ever-shifting cosmic forces. Worldwide, many are embracing the idea that things can be approached differently. While exploring the visual language around this shift is fascinating, I’m actually seeking the truth behind the cliché. In ‘Hot Freaks’, I depicted scenes of surfers, cars, footage from China, actors, swords, and O’s. The O’s originated from my drawing featuring the text ‘HOW HOW BECAME WHEN’. I crafted the O’s in steel, making them large enough to step through.

From 2008 to 2010, I extensively visited the US to exhibit, film, and create new work. America is synonymous with the car, which became an integral part of the work – an embodiment of individual freedom.
In California, I travelled for weeks from San Francisco to Los Angeles in a rental car, and to the desert and back again. I filmed from the car, turning it into a mobile tripod, always in solitude. Following several filming sessions, one of the last journeys occurred in a tranquil, desert-like expanse en route to LA. While driving, I captured the night descending, turning the sky from yellow to purple-blue and finally black. All the while, the traffic became busier. The recording concluded within the confines of a city tunnel.
The trip encompassed more than just a journey – it merged the elements of the highway, America, the myth of The West, the Californian Dream, the spirit of the sixties, Love, and romanticism. This fusion resulted in a new sentiment reminiscent of a cowboy or drifter. I became acquainted with the psychedelic guitar band Wooden Shjips, whose music I’ve incorporated into many of my videos. I discovered similarities to my work, including the use of repetitive drones, rhythms, and, at times, an almost medieval undertone. Though we both elicit the same sensation of the trip, of being swept away, it is not centred on escape or numbing but rather is about being propelled in a specific direction and building momentum.

A child is innocent, giving and receiving love while placing trust. I was born amid the tumult of May 1968 and grew up in the 1970s – a beautiful, carefree time that, in a way, was brimming with promise. I navigated this era surrounded by new, modern advancements, progressive parents, the pursuit of liberation, and a sense of luxury. Pop and disco music entered my world through the TopPop music television series. Despite my socially conscious parents’ efforts to highlight more pressing global issues, I experienced that era as a positive time. I held a cheerful curiosity about the future, albeit tinged with concern due to the excessive production and consumption of energy and resources.
I think that the origins of my work can, in a sense, be retraced to that potential of a new era, surrounded by all the echoes of images, products, excess, records, films, commercials, and dreams. There was the promise of love that remains to be fulfilled, not to mention soaring into the sky with the lightning bolts of ‘Can You Feel It’ by The Jacksons, one of the earliest music videos to incorporate technologically advanced special effects, evoking a new world.
It is comparable to the onset of the digital age with its naive yet hopeful commencement of a new era of empowerment and creativity. Technology has become paramount, permeating everything. Although our current era’s innovations have yielded numerous positive applications, they’re also causing irreparable damage. Energy derived from water, wind, and the sun is already accessible. However, innovations in these areas encounter opposition and obstruction, perpetuating pollution and destruction through oil, gas, and climate-altering chemicals. The creativity of young, intelligent pioneers is now being leveraged for mass surveillance, warfare, stock market algorithms, indiscriminate harvesting of personal data for marketing and advertising, and so on. Creativity is associated with freedom, yet freedom demands responsibility.
The question of whether we can handle this responsibility is one of the focal points within my work. This question, though subtly embedded, resonates tangibly with the viewer. And though my installations do not offer the comfort of familiar stability, I endeavour to ensure they feel like a safe space for the viewer. Perhaps they revolve around a sense of forgiving humanity’s many ongoing and past errors. They embody a fusion of hope, destruction, fantasy, frayed edges, beauty, and wandering souls. I meticulously compose and entice, presenting imagery that belongs to all and has long existed, captivating viewers in an unyielding gaze. It is for them to uncover meanings and introspect – an invitation I extend to the audience.


Amsterdam, November 2014

Text by Annette W. Balkema & Henk Slager

Wineke Gartz' environmental intervenions confront human beings and their world view with the directness of their own physical existance, which appears to be both inviolable and vulnerable.

Wineke Gartz

When I was still painting a lot, I often did not start with the figure as such. Rather, I began with the black surrounding space, so that was already looming, as it were. However, that is an inverted way of painting. Such an open space that lights up seems close to foreboding my current work which consists of alcehemist assemblages of video, slides, mirrors, time and space. The image I now have of most of my environmental installations is that of a landscape where one may roam, both literally and figuratively. Therefore, the relationship between what is painted, what moves and what stands still has to merge naturally. In a way, I am a collector of images. The collection runs through a filter and then, in a montage, I create a new image. In painting, I did something similar, but still held the opnion then that everything should be condensed into a unique, autonomous image. But the pictures, drawings and sketches in my studio were in fact more interesting to me than that one ultimate painting - which never was completed anyway. A moving-image projection is a fantastic avenue to connect all kinds of image dimensions by showing them in one format and adjusting the physical scale of the projections to the human beings roaming around them. So, I found a way to combine images, not only painterly images, but bare images from reality as well.

I like the straightforwardness of film, photography and video. Such straightforwardness shows what something is, things appear as they are. In painting, I always had the experience that if I wanted to show something as it is, it changed into something else because of my own signature in color and paint. Moreover, painting is very slow in processing all kind of images. In search of a way of handling images bombarding me from both the inner and outer world, I found that collecting them by video and photography at least allows to capture them.

Nonetheless, I am still attracted to the enormous impact painting has and to how painterly problems are solved. I am moved by painting simply because of its pure materiality. However, I work with a time-space dimension: images are scattered and rhythmically composed in an environment, but the installation as such is assembled with a painterly eye. It is a composition where space is the canvas, the slides are the colors and the forms, and there is chiaroscuro. But the height of the baseboard, the size of the walls with respect to the viewer, the placement of the door, and the position of the projector are equally important. Most of the time, I want my images to be lifelike or even bigger, so that one can relate physically to the projected images. It is my task to make the environment and the work fuse together. Just like painting, an installation should be well-balanced. My installations are arrangements in time and space where I regulate to a certain extent the stream of images in order to conduct the viewer. In fact, I throw all kinds of experienced images through my mind, as it were, back into the world from where they originated.

In my work, I strive for a sort of classic harmonious unity. At the same time a form of harmony invites the urge to resist and to be transformed into a specific sense of dissonance. One always has to take the edge off a certain model, one has to engage repeatedly in an investigation of the boundaries of images. In video, though, and cinema and theater as well, one can hardly speak of images since that concept is too static. In that respect, visual environment and space-body interactivity seem to be better terms, where images merge together with sound and a time span.

Whether or not the term art will survive, I do believe that in creating artworks, one relates to the world and to the people. That process is connected to taking part in the pleasure of observing and experiencing that which tends to go by unnoticed. An artwork directs spectators, but confronts them at the same time with something grander than themselves. A work of art opens up, liberates through and makes shifts in regular ways of seeing. It plays a role in one's capacity to love life and to understand why one is in the world. Therefore, it is important that the figure of the artist survives no matter how that figure manifests itself. I continue to trust people who as creative forces in society are involved in creating art in all possible freedom.

Amsterdam, 2000

This text is based on a conversation with the artist, originally written for the PICAF catalogue for the Pusan International Contemporary Art Festival 2000 in South Korea.