Tokyo Tokyo, 2010

WassinkLundgren

Created by WassinkLundgren in 2012. The artwork is displayed at 50 x 40 cm.

Maldoror #6, 2014

Foam is supported by the VriendenLoterij, Foam Members, De Brauw Blackstone Westbroek, the VandenEnde Foundation and the City of Amsterdam.

In 2021 Foam receives additional support from the Mondriaan Fund and Kickstart Cultuurfonds

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Is this an example of landscape photography, or a still-life? In the series 

This Land is Your Land, This Land is My Land

, the artist duo WassinkLundgren (consisting of Thijs Groot Wassink and Ruben Lundgren) present various images of pieces of earth against a blank background. Although the images may seem straightforward at first, the focus on an apparently insignificant clod of soil triggers the viewer.  

 was made as part of the Virtueel Museum Zuidas, a long-term project documenting the construction of Amsterdam’s financial district, De Zuidas. For this series, the duo dressed up in smart suits to collect several pieces of land at De Zuidas, which is one of the most expensive stretches of real estate in the Netherlands. By adding a document that shows the origin and the price of exactly this piece of land, reaching as high as €15,250 in some spots, an almost surreal image emerges. WassinkLundgren’s work offers a critical interpretation of developments in today’s society, combined with a healthy sense of humour. 

My Land_02 from the series This Land is Your Land, This Land is My Land

my Land_02

Rupert Bear Jacket De-Mothing #1 from the series In the Shadow of Things

Léonie Hampton

Created by Léonie Hampton in 2009. The artwork is a photo face on 6mm low iron glass, polished and bevelled edges, polyester back & MDF split batten and displayed at 17 x 25.40 cm.

What atmosphere does this photograph evoke? Does it give you a tense, mysterious or perhaps ominous feeling? The somewhat worn and abandoned children’s shoes trigger the imagination, further enhanced by the location and the light. The moss-covered tiles, the dry leaves that have accumulated inside the shoes, and the gloomy light suggest that the shoes were left behind out in the garden a long time ago. Photographer Léonie Hampton deliberately plays with the interaction between the subject, the location and the light to amplify the atmosphere of the photograph. 

 is part of Léonie Hampton’s intimate series 

, which documents daily family life with a mother suffering an obsessive-compulsive disorder. 

The Thrush #1 from the series The Jewels

The Trush #1, 2009

Living in permanent fear of dirt and contamination. Stacks of stuff that make rooms uninhabitable. Fully withdrawing from the rest of the world. People suffering an obsessive-compulsive disorder (OCD) are subject to obsessive thoughts and compulsive actions that often clash with social activities and relations.  

 is the result of an agreement between mother and daughter. The English photographer promised her mother to help her deal with the compulsive disorder, as long as she was permitted to document her daily life with OCD. 

 shows a yellow jacket that seems to have been tossed out with coat hanger and all, and has now been covered by dry autumn leaves. The title and image suggest a certain contradiction: getting rid of moths for fear of contamination clashes with the dirt accumulating on the jacket as it lies outside. 

Rupert Bear Jacket De-Mothing #1 from the series The Jewels

Rupert Bear Jacket De-Mothing #1, 2009

How does this image make you feel? This nighttime scene of a house in the woods may evoke an ominous feeling as to what’s about to happen. Or does the warm light shining through the windows instead transport you to a cosy living room during a cold winter night? 

, in which English photographer Leonie Hampton gives the viewer an intimate peek at her everyday family life. The series was conceived when Hampton offered to help her mother, who suffers from an obsessive-compulsive disorder (OCD), to tidy up the house, as long as she was permitted to photograph the process. The result is an intimate and personal portrayal of the complex relationships that can exist within a family, which might not be apparent to the world around. In the 

 addresses the myth of the perfect family, while showing the unbreakable bonds and the love within a family. 

Night Time #1 from the series The Jewels

Night Time #1, 2009

Adam and Eve, 2016 from the series Collateral Visions

Clément Lambelet

Created by Clément Lambelet in 2016. The artworks are wooden light boxes (white) with plexiglass and duratrans, both displayed at 200 x 105 cm.

Developments in image recognition systems are leading to more and more automated forms of surveillance and personal identification – but how reliable are these new systems? Clément Lambelet looks for the loopholes in this rapidly developing algorithmic ecosystem. The central piece of the 

 series is a variation on an engraving of the Biblical figures Adam and Eve made in 1504 by the German Renaissance artist Albrecht Dürer. Dürer was convinced that the ideal proportions of the human body could be captured in mathematical formulas. For his own interpretation, Lambelet used the kind of body scanner used by airport security. Through his works, Lambelet questions the reduction of human bodies to mere numbers, by showing that algorithms can be functionally biased. 

Adam & Eve from the series Collateral Visions, 2016-2017

Adam and Eve, 2016

No 8. from the series Project 2085, 2015-2017

Wang Juyan

Created by Wang Juyan in 2015-2017. The artwork comprises of four prints on Hahnemühle baryta paper (matte), mounted on aluminium boards, each displayed at 250 x 150 cm.

, shows a misty mountainous landscape divided across four panels. Wang Juyan’s mountainscape is reminiscent of the art of traditional Chinese painting, 

, but it was actually created through a complicated technical process. During his many travels between London and Beijing, Juyan took hundreds of aerial shots of Chinese mountain ranges. Using digital technology, he combined the images he captured over a period of two years to create a fictional landscape of steep mountains, valleys and rivers. The message behind the piece is as serious as the piece itself is magical: the collage refers to the political value of landscapes in both Eastern and Western history. Traditional Chinese scroll paintings, propagandist murals, cartography, surveillance material captured by airplanes or drones… The title of the series is a reference to George Orwell’s influential novel 1984 (plus 101 years) and the fear of being constantly watched by the authorities.

Fake Flowers in Full Colour – Blue, 2008-2009

Jaap Scheeren & Hans Gremmen

Created by Jaap Scheeren & Hans Gremmen in 2009. The artwork comprises of four c-prints, each of which is displayed at 30 x 24 cm.

Do you notice anything particular about these four colours? They represent the four colours of the CMYK colour system. In contrast to the RGB colour system that dominates the representation of colours in the digital world, the CMYK colour system is central to print colours. Like RGB, CMYK is an acronym: Cyan, Magenta, Yellow and Key. These four colours form the basis of the entire colour spectrum in printing. 

Photographer Jaap Scheeren and graphic designer Hans Gremmen conduct an almost absurdist investigation into the impact of digitalisation on the colour of an image. 

 comprises four images of the same flower bouquet, each in a different base colour. If the photos were to be layered on top of each other, they would create a lifelike still life of a bouquet. Instead they create a brightly coloured, artificial-looking image. The artists use this to question the apparent realism of the photographic medium. 

Fake Flowers in Full Colour - CMYK

Fake Flowers in Full Colour

exhibitions

Popel Coumou

Created byPopel Coumou in 2019. The artwork is a archival pigment print and displayed at 41 x 28 cm.

How does this work fit within the photographic medium? The abstract, three-dimensional image may well make you think of graphic design. It is precisely through this kind of confusion that artist Popel Coumou challenges the traditional conceptions of photography, in terms of how you use images. Must a photograph always be a representation of reality? In fact, this image is a collage created used several photographs of the sky. Take some time again to look at the image. Can you see how the sky has been processed in the geometrical shapes? From the golden hue of a setting sun to the deep blue when daytime gradually passes into night. Coumou’s work centres on the progression of light and colour. In this way she deftly examines how the human brain tends to fill in any uncertainties and is able to create its own reality to accommodate whatever it sees.  

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