Collage

 nodigen kinderen van 8 t/m 12 jaar uit om deze winter deel te nemen aan de 

Geïnspireerd door de tentoonstelling van Viviane Sassen gaan de deelnemers zelf aan de slag met de camera en leren ze om op een nieuwe manier naar kunst en kleur te kijken. Om de feestelijke ervaring compleet te maken, is er voldoende tijd om te genieten van warme chocolademelk en kerstbrood.

Foam

Kerstvakantie: Workshop Collage Maken

From the series I Do Miss Hospital Visit

Shwe Wutt Hmon

Students of Tsinghua University showing their prestige with an a4 white paper.

Xin Li

From the series POST, 2023

Sander Coers

Mooncake, Foam Café, Amsterdam

Spread from Chinees-Indisch Stickeralbum

Cahier for Benjamin Li's In Search of Perfect Orange - Chinese Version

Chinese versie

Liz Johnson Artur - of life of love of sex of movement of hope, 2021

In Search of Perfect Orange. About the work of Benjamin Li

From the series Blaze Orange / High Visibility

Jaclyn Wright

From the Archive:  Establishing Eden by Persijn Broersen & Margit Lukács

Opening Hiền Hoàng

Foam presenteert met trots de tentoonstelling 

 van het Nederlandse kunstenaarsduo Blommers & Schumm, die een diepgaand kijkje biedt in meer dan 25 jaar van hun speelse en provocerende beeldvorming.

Op vrijdag 19 September wordt de tentoonstelling geopend in aanwezigheid van de kunstenaars. Je bent van 18.30 tot 21.00 uur van harte welkom voor deze feestelijke opening met gratis entree, een dj-performance met 

. Hij is een in Londen gevestigde creative-director, uitgever en curator, en de drijvende kracht achter de onafhankelijke kunst- en lifestylemagazines 

Carcy Magazine Styling Hannes Hetta ,2018

Ciara, 1998. Styling by Suzanne Koller

Opening Blommers & Schumm

Opening of Loading... Works from the Foam Collection

Onze missie

Description

Pink Ladies and Pear, 2012

als lid van Foam

Ontdek nog meer

Wedding day from the series Las Flores mueren dos veces, 2022

Louis Vuitton Jeff Koons Rubens Bag, 2020

From the series Home Leaving One for Another

"Mohlokomedi wa Tora", Scene 2, 2018 

Killa from the series Madre

In a sandstone mine 1 from the series This isn't Divide and Conquer

Dialect, 2020

authenticity (2 CHAINZ) from the series BLACK SNAFU, 2022

Wait from the series We Didn't Choose to be Born Here, 2022

Foam Magazine

Opening of Tyler Mitchell, photo by Almicheal Fraay

About

 Foam neemt je mee in het eigenzinnige archief van het Nederlandse duo Blommers & Schumm en biedt een diepgaande terugblik op ruim 25 jaar speels en prikkelend beeldexperiment.

De tentoonstelling toont hoogtepunten uit hun indrukwekkende carrière, waaronder iconische foto's die verschenen in toonaangevende publicaties als Fantastic Man, The Gentlewoman, Dazed & Confused, Self Service, Purple, AnOther Magazine en The New York Times Magazine. 

Josefine wearing Bless, Styling Georgia Pendlebury for Exhibition magazine 2018

Blommers & Schumm

 is the well-known Photoshop selection tool of the same name. For Xin Li, the tool is much more than a handy feature to edit images. It becomes a means to draw parallels with societal control and censorship during the COVID lockdowns in China.  

The magic wand tool selects areas of images based on colour and hue—allowing smart selection and quick manipulation of images. Enforced with machine learning, it nowadays easily predicts which objects a user would like to see selected. Xin Li uses the tool to distort images, obscuring their original meaning behind layers of other images, often of other artworks.  

For Xin Li, this process symbolises the mechanisms of hiding and revealing facts and fake news, regulating the flow of information and controlling the dominant narrative. Metaphorically captured in the overwhelming fusion of shapes and colours, the visually explosive works tempt the viewer to look what lies beneath the apparent chaos. 

Stuck at home during the COVID-19 lockdown, Shwe Wutt Hmon was unable to visit the hospital for her regular check-ups and scans, necessary because of a life-long health issue. Coming to terms with this limitation, she started scanning her body, as well as flowers and medical records, by herself with an ordinary at-home scanner, creating a variety of abstract self-portraits. 

 that emerged from these experiments, reveal a poetic and symbolic documentation of the ongoing assault of medical procedures and operations on her body. Hmon’s image-making practice strongly ties together process and concept: the withering flowers symbolise the decay of the body and dark colours reflect somber emotions experienced right before scheduled operations.  

Another dimension was added when she moved from Myanmar to Thailand in 2022. Printing her work on local Saa paper, the works received an almost skin-like texture. Again, restrictions–this time due to the delicate paper type–required her to improvise, causing her to print the works small scale at home. The final accumulated process turned out to present a healing capacity: by carefully printing, cutting and sewing her works together, Shwe ultimately was also mending herself.

How does a photograph shape our understanding of the past? 

 is a series of A.I.-generated images, combined with archival images, questioning the construction of memory and masculinity through our image culture. 

In an attempt to grasp the full story of his deceased grandfather and his Indonesian heritage, Sander Coers turned to the artificial intelligence programme 

Feeding archival family photos into its system, he asked the programme to describe them, specifically listing their technical details such as dominant colour tones and type of camera, film and lens. Altering these descriptions allowed Sander to prompt the programme to create new images, yet maintain the exact visual look and feel of the family snapshots. Finally, by blending multiple A.I.-generated images together with the originals, he created a surprisingly intimate, genuine, yet completely fictional family album. 

The way the photos are cropped stands out. Coers used an element of collaging when assembling the final images, in order to emphasise the constructed nature of the photographs, and ultimately, the constructed nature of one’s memory, too. 

 alludes to the ‘afterlife’ of his grandfather, through the photo albums he left behind, as well as to the realm of post-photography: a space where images can be generated without the use of a camera.  

Adobe Stock image

Image from the series POST, 2023

From the series POST

The West Desert, located on the western shore of the Great Salt Lake in Utah (USA), is the ancestral home of the indigenous Goshute people. Though officially public lands, managed by the Bureau of Land Management, this area is largely used for various privatised or military purposes, ranging from mining operations, testing grounds for weapons and improvised gun ranges.  

, Jaclyn Wright visited these cluttered sites, full of discarded targets and shattered clay pigeons. The bullet-holed remains, which she collected, photographed and filmed, are pieced together into performative installations, that reflect on the colonisation of ancient lands by bureaucratic systems.  

By inserting herself into the scene, wearing a skintight bodysuit made out of orange clay pigeons, Wright comments on the hyper-masculine culture of land dominance and cowboy fantasies. The synthetic orange colour becomes symbolic: used to enhance visibility, it signifies the strong opposition and rejection of its natural environment. 

Untitled (BLM arrows I)

From the series High Visibility (Blaze Orange)

Antelope Island (Utah) Buffalo Hunt photograph collection, Digital MSSC782, No. 6, Altered

L. Clyde Anderson photograph collection (1910- 1959), P0158, Box 1, Folder 27, Altered

Charles James Neal photograph collection (1900 - 1920s), P0694, Box 1, Folder 4, Altered

The West Desert is located on the western side of the Great Salt Lake [UT, United States]. Historically, this area has been documented through photography and land surveys, supporting the violent exploitation of the landscape. 

Archives, II

Untitled (grid)

Nearly one-third of the West Desert's 7.7 million acres are used as biological and chemical weapons testing grounds. The remaining areas of the West Desert are open to various uses, including improvised gun ranges.

Collected Targets

Collected Targets, from the series High Visibility (Blaze Orange)

L. Clyde Anderson photograph collection (1910- 1959), P0158, Box 1, Folder 6, Altered

Stansbury Island, the second largest island in the Great Salt Lake, echoes with gunfire and is littered with bullet holes, clay pigeons and improvised targets. The Bureau of Land Management refers to this detritus as "trigger trash".

Found Clay Pigeons

Archives, V

After encountering the powerful texts of psychiatrist Frantz Fanon on the fight against colonial injustice, a series of questions emerged inside Issam Larkat’s mind. Who was Frantz Fanon and how did he become a crucial figure in the liberation of Algeria, as well as the broader movement of decolonialisation? How relevant are his words after seventy years? And, which questions would Fanon have asked in today’s society? 

Frantz Fanon (1925-1961) was an important figure in the global struggle against colonialism during the 1950s, also known under the adopted Islamic name Omar Ibrahim, and recognised for his publications 

(1961). Born on the Caribbean island Martinique, under French colonial rule, Fanon educated as a psychiatrist in France. After the Algerian Revolution in 1954, he joined the National Liberation Front and continued to fight for the freedom of many African nations, including Algeria, until his death in 1961.

Inspired by the profound legacy of Fanon’s visionary ideas, Issam Larkat’s series 

pays a tribute to his thinking by using a distinct style that combines photographs, archival images and hand-made drawings. Larkat cleverly translates his questions into critical collages that depart from his own experience in Algeria, yet simultaneously speak to the universal struggle against injustice and (neo-)colonialism, connecting the shared identities of Algerian, African and Arab people. 

From the series Frantz Fanon, Me, and The Questions

Issam Larkat

is a close observation of performance in everyday life. Which roles do we act out on a daily basis and how does that influence our identities? Using the metaphor of the theatre to separate private (

) spheres, Eleonora Agostini studies her mother’s behaviours, gestures and expressions in her job as a waitress. 

Puzzling together photographs, archival images, moving images and texts into various collages, Eleonora Agostini breaks down the layers of performance one by one, revealing the repetitiveness of gestures, habits and adopted mannerisms used in serving clients.  

The work is also a commentary on the feminist theory of the “gaze”. The restaurant becomes the space where her mother is both the observer and the observed, where parts of her public behaviour as a waitress bleed into her private behaviour of being an individual, woman, and mother. Through her project, Agostini examines this relationship between the female body and the different social roles it performs in different spaces. 

From the series A Study on Waitressing

Eleonora Agostini

Unidentified flying objects, ships floating above the water or identical strangers: the internet holds a vast collection of real-world ‘glitches’: errors or optical illusions that occur in the world around us but cannot be explained rationally. Inspired by movies like 

, these puzzling phenomena spark online discussion, often satirical, about whether we might exist in a simulation, rather than the real world.

, artist duo Andrea Orejarena and Caleb Stein look exactly at this blurry line between fact and fiction, fuelled by the overwhelming flow of images coming our way through our screens on a daily basis. The artists treat the internet as a collective subconscious where evidence for real-life glitches is constantly posted, shared, and reshared. 

The large collection of found internet footage that they built over the years inspired them to search for sites across the United States that reminded them of such glitches. The resulting series of serene yet uncanny landscape photography leave the viewer in an unsettling space, confused between what might be real and what might be fake.

Syntethic Street Collage

Found footage from the series American Glitch

Abraham Lincoln and Drone from the series American Glitch, 2021

Real Bird in Fake Tree, 2022. From the series American Glitch

Desert Facade 1, 2022. From the series American Glitch

Egg Glitch. From the series American Glitch

Very Large Array, New Mexico. From the series American Glitch

Life on Mars Training Simulation, 2021. From the series American Glitch

From the project American Glitch

Cloud Glitch, 2021. From the series American Glitch

Desert Firing Range, 2022. From the series American Glitch

Fake Training Battle in Replica Iraqi Village

From the series American Glitch

Herndon Climb, 2023. From the series American Glitch

California City Paper Roads, Aerial View 1 of 9, 2022. From the series American Glitch

Andrea Orejarena & Caleb Stein

Dine Dine Khasiya Paribe

 is a visual folktale, following the tunes of local songs from the Rajbanshi community in Assam and Bengal, India. Historically, this community has continuously been mis-identified and culturally erased through the crushing weight of colonial bureaucracy. The series documents Akshay Mahajan’s journey in search for what ‘identity’ truly is.

Growing up in Mumbai as a child of the Indian partition, without any knowledge of his own heritage, Akshay Mahajan attempted to construct a new identity: not by birth, but through love. Folksongs, sung by his wife, drew him to north-eastern India, to the Rajbanshi people—bringing back to live a cultural tradition on the brink of obscurity. 

The resulting works are an intuitive and associative exploration about the meaning of ‘identity’. The use of the collaging technique refers to the constructed nature of identity, as something that is continually challenged and reassembled. Mahajan explains: “We are all people of clay, our identities constantly changing, not chained by the borders we have inherited.”

Listen to "Dine Dine Khasiya Paribe" by clicking the play button at the bottom of the exhibition.

From the series People of Clay

Akshay Mahajan

Foam Magazine is een internationaal bekroonde fotopublicatie.

Foam Magazine #64 Extremes - The Environmental Issue. Cover: Abundance, 2023

Foam Magazine verschijnt twee keer per jaar. Elk nummer is gewijd aan een specifiek thema dat wordt onderzocht aan de hand van werk van zowel wereldberoemde beeldmakers als nieuwere, opkomende talenten. Begeleidende essays, interviews en opinies van experts in het veld komen samen om een diepgaand en kritisch gesprek te vormen.

Foam Magazine wordt gemaakt met uitgesproken redactionele keuzes en heeft verschillende prijzen ontvangen voor haar hoogwaardige grafische vormgeving en inhoudelijke kwaliteit.

Phone showing Foam magazine

Image from the series Playing with Visual Fragments

Title

Foam Magazine #59: Histories - The Archival Issue, 2021 

Image from the series After Hours

title

Image from the series Collection of Unjust Enrichment

Image from the series Where We ve Been, Where We re Going Why

Verkooppunten

Foam Talent Call

Contact

Foam 3h: Sem Langendijk - Haven, 2023

nu in Foam 3h

Finn Maätita and Jerrold Saija

Vorige kunstenaars bij Foam 3h

Foam Paul Huf Award

terug naar talent

Meer talentinitiatieven

Foam 3h

Magazine

Get Surreal voortgezet onderwijs, 2024

Over de workshop

Leerdoelen

Themes

Vragen of wensen?

Meer voor voortgezet onderwijs

Voortgezet Onderwijs - Workshop - GET (SUR)REAL!

Gemaakt door Katinka Goldberg in 2014. Het kunstwerk is gedrukt op Canson platine vezeldoek - glanzend - 310g, gemonteerd op dibond en tentoongesteld op 100 x 70 cm.

Waves from the Web, 2009

te zien in

, een andere werk uit Katinka Goldberg’s serie 

, valt naast het kleurverschil een verschil in afstand direct op. In plaats van een beeldvullende close-up, laat 

 een kleine, uitgeknipte foto te midden van een blauw vlak zien. Op het knipsel is hetzelfde soort haar en een stukje van een gezicht te herkennen. De serie 

, waar dit beeld onderdeel van uitmaakt, is het tweede deel uit een trilogie waarin de Zweedse Katinka Goldberg haar relatie met haar familie en de familiegeschiedenis op poëtische wijze onderzoekt. De Zweedse term Bristningar kan letterlijk vertaald worden als ‘striae’ (onderhuidse striemen die ontstaan als de huid uitrekt) of meer figuurlijk als ‘tekortkomingen’. De serie bestaat uit collages gemaakt door Goldberg die de spanning tussen nabijheid en afstand toont en, in een proces van heling, het lichaam deconstrueert en weer in elkaar zet. Hierbij vraagt ze zichzelf telkens af: hoeveel kan je van jezelf wegnemen zonder te verdwijnen? 

The Birdnest, 2014 from the series Bristningar

The Birdnest, 2014

De close-up van het krullende haar en de manier waarop het licht erover valt geven het beeld iets intiems. Tegelijkertijd zorgt de manier van afsnijden ervoor dat de kijker niks van de eigenaar van de haardos te weten komt. Fotograaf Katinka Goldberg weet met dit beeld een bepaalde emotionele lading te vatten die haar werk kenmerkt. De serie 

Collage

Collage

Kerstvakantie: Workshop modefotografie

Shwe Wutt Hmon

Xin Li

Sander Coers

In Search of Perfect Orange
About the work of Benjamin Li

Jaclyn Wright

From the Archive: Establishing Eden by Persijn Broersen & Margit Lukács

Opening Blommers & Schumm Mid-Air

About

Blommers & Schumm Mid-Air

Xin Li

Shwe Wutt Hmon

Sander Coers

Jaclyn Wright

Issam Larkat

Eleonora Agostini

Andrea Orejarena & Caleb Stein

Akshay Mahajan

Foam Magazine

Foam 3h

Magazine

GET (SUR)REAL!

The Birdnest, 2014

The Hair, 2014

Collage

Collage

Kerstvakantie: Workshop modefotografie

Shwe Wutt Hmon

Xin Li

Sander Coers

In Search of Perfect OrangeAbout the work of Benjamin Li

Jaclyn Wright

From the Archive: Establishing Eden by Persijn Broersen & Margit Lukács

Opening Blommers & Schumm Mid-Air

About

Blommers & Schumm Mid-Air

Xin Li

Shwe Wutt Hmon

Sander Coers

Jaclyn Wright

Issam Larkat

Eleonora Agostini

Andrea Orejarena & Caleb Stein

Akshay Mahajan

Foam Magazine

Foam 3h

Magazine

GET (SUR)REAL!

The Birdnest, 2014

The Hair, 2014

In Search of Perfect Orange
About the work of Benjamin Li