Foam presents the first major solo exhibition of visual artist Anne de Vries (born 1977, The Hague) in which existing and new work are combined. 

Anne de Vries grew up in a time in which the internet, Photoshop, Tumblr and mobile upload feeds came to seem entirely natural. They embrace the fluid, dynamic world that exists in the computer and the new world facilitated by it, deploying photography as an important part of a far broader artistic practice, in which a diversity of materials, techniques and methods are brought together. His visual language is strongly influenced by corporate branding, commercial visual merchandising and stock photography.
The starting point for Anne de Vries' work is the combination of abstract notions of &lsquo;new materialism&rsquo; with the everyday, common objects and with new materials, technologies and printing techniques. His oeuvre ranges from two-dimensional digital photography and three-dimensional photo sculptures to new media installations.
In its content De Vries&rsquo; work is based on the influence of technologies on our perception and experience of the world, and the resulting social and political implications.
As De Vries puts it: &ldquo;What interests me is how digital technologies are ultimately rooted in the human need to overcome physical and mental limitations. This is an ancient quest in which science, art and the spiritual are bound up together, a quest that has produced the manipulated reality of our day and of the future.&rdquo;
The exhibition is a reflection on the appeal of progress, the position of the individual among the masses and the roll of imaging in an increasingly globalised economy.
NEXT LEVEL From autumn 2015, Foam is organising the Next Level exhibition series with support from Ammodo. This series aims to introduce a broad public to the innovative art of relatively young image-makers who take a revolutionary approach to the medium of photography. Anne de Vries is the first selected artist in this series.
Partner Next Level: Ammodo Anne de Vries&rsquo;s new work is supported by the Mondriaan Fund.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, Delta Lloyd, City of Amsterdam, Olympus and the VandenEnde Foundation.
ABOUT ANNE DE VRIES Anne de Vries has participated in numerous international group exhibitions, including the Mambo Museum , Bologna (Italy), Museum Angewandte Kunst, Frankfurt am Main (Germany), Museum De Hallen, Haarlem (Netherlands), Minneapolis Institute of Arts, Minneapolis (USA) , The Moving Museum, Istanbul (Turkey) and Foam, Amsterdam (Netherlands). His work is included in several private and corporate collections and the collections of Rhizome, New York (USA) , Museum Winterthur (Switzerland) and Foam, Amsterdam (The Netherlands). He was a resident at the Rijksakademie van Beeldende Kunsten from 2011-2012 . He studied at the Rietveld Academy in Amsterdam and at the Cooper Union for the Advancement of Science and Art , New York (USA). The artist is represented by Galerie Martin Zomeren in Amsterdam.

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Anne de Vries

On the final day of the exhibition <a href="/museum/programme/anne-de-vries">Anne de Vries &ndash; E _ M E R G E</a>, Foam organises a lunch-session with several lectures and artist-talks around the central theme of the relation between photography and visual arts.

On Sunday November 1, the final day of the exhibition <a href="/museum/programme/anne-de-vries">Anne de Vries &ndash; E _ M E R G E</a>, a lunch-session around the central theme of the development and relation of photography into visual arts is organized. The exhibition by De Vries is based on his interpretation of the influence of technology on our perception and experience of the world. Within this framework Clemens Jahn, author of the article &lsquo;Photography after Photography after Photography, delivers a lecture. Accordingly artists Anne de Vries and his contemporary Timur Si-Qin present their work, followed by a panel discussion moderated by Judith Vrancken.
In his lecture, Clemens Jahn elucidates his in the acknowledged art magazine Texte Zur Kunst published article &lsquo;Photography after Photography after Photography&rsquo;. &ldquo;As photography has left the frame, permeating all that we do, its institutionalization has become all but impossible&rdquo;&ndash; states Jahn in his critical reflection on the position of photography and image manipulation within visual arts. Photography is no longer a means for representation, but more than anything else an instrument. Anne de Vries and Timur Si-Qin belong to the generation of artists who are extending the boundaries of photography in both form and content. How Anne de Vries and Timur Si-Qin relate to photography and visual arts in our contemporary digital era is discussed during the panel discussion. Of course there is opportunity for the audience to ask questions.
<a href="/museum/programme/anne-de-vries">E _ M E R G E</a> is the first major solo exhibition of the Berlin-based visual artist Anne de Vries. De Vries grew up in a time in which photography, Photoshop and mobile upload feeds came to seem entirely natural. His practice of photography is strongly influenced by his interest in the contemporary image culture. By combining everyday, common objects with new material, technologies and printing techniques, De Vries presents his reflection on the appeal of progress, the position of the individual among the masses and the role of imaging in an increasingly globalised economy.
NEXT LEVEL From 2015 Foam is organising the <a href="/about/press-office/next-level">Next Level</a>&nbsp;exhibition series with support from Ammodo. This series aims to introduce a broad public to the innovative art of relatively young image-makers who take a revolutionary approach to the medium of photography.&nbsp;Anne de Vries&rsquo;s new work is supported by the Mondriaan Fund.
ABOUT ANNE DE VRIES De Vries (The Hague, 1977) has participated in numerous international group exhibitions in amongst others Museum De Hallen, Haarlem; Minneapolis Institute of Arts, Minneapolis; The Moving Museum, Istanbul; Cell Projects, London, and Foam, Amsterdam. His work is included in several private and corporate collections and the collections of Rhizome, New York; Museum Winterthur, and Foam, Amsterdam. De Vries was a resident at the Rijksakademie van Beeldende Kunsten, Amsterdam from 2011-2012. He studied at the Rietveld Academy in Amsterdam, and at the Cooper Union for the Advancement of Science and Art, New York. Anne de Vries is represented by Galerie Martin van Zomeren in Amsterdam.
ABOUT TIMUR SI-QIN Timur Si-Qin (Berlin, 1984) lives and works in Berlin and is a leading figure in a new generation of artists associated with the contemporary philosophical movements of &lsquo;New Materialism&rsquo; and &lsquo;Speculative Realism&rsquo;. He grew up in Berlin, Beijing and in a native Indian community in the American Southwest. Si-Qin&rsquo;s work has been shown internationally at Bonner Kunstverein, Bonn; CCS Bard, New York; Museum Fridericianum, Kassel and at the Taipei Biennial. Last year he participated in the Art Post-Internet group exhibition at the UCCA, Beijing. Timur Si-Qin completed his Bachelor of Fine Arts at the Universiry of Arizona, Tuscon. He is represented by Soci&eacute;t&eacute; in Berlin, and by Magician Space in Beijing.
ABOUT CLEMENS JAHN Clemens Jahn (Munich, 1986) is a Berlin-based designer, editor and cultural producer. He studied visual communications at Universit&auml;t der K&uuml;nste (UdK) Berlin, and London College of Communications with a focus on multimedia graphic design and visual systems. He has worked with a range of international institutions, such as the MAD Museum of Arts and Design, New York; University for Arts and Culture St. Petersburg; ZKM | Karlsruhe, and Kunsthalle Bern. He recently co-published the anthology Turning Inward in cooperation with Sternberg Press.
ABOUT JUDITH VRANCKEN Judith Vrancken (1983) is an art historian, critic and writer. She&rsquo;s a former editor for the publishing house Leesmagazijn and currently an editor for We Are Public and scriptwriter for Nederlands Dans Theater. She regularly contributes to Art Agenda, Frieze d/e, Flash Art, Metropolis M and Artforum. For the latter she wrote an article on Anne de Vries&rsquo; exhibition in Foam. Vrancken divides her time between Amsterdam and Berlin.

<div class="sidebar__content">Event Info 
Sunday 1 November 2015 13.00 &ndash; 15.00 hrs. Language: English Tickets: &euro;15, regular rate &euro;10, reduced rate Free for WE ARE PUBLIC Lunch is included</div>

E _ M E R G E artist talks 

 in 2009. Using c-print with an epoxy-layer as the medium, the artwork is displayed at 10 x 15 cm.

Waves from the Web, 2009

visible in

 is derived from the internet. Inspired by 'The Age of Aquarius,’ the astrological belief that the world has entered a new cycle in which love, light and humanity play an important role, the element of water is often used as a metaphor. De Vries has searched for the different ways that water has been represented in different cultures, from Japanese wood engravings to Bob Ross. De Vries brings the variety of collected images together by making collages and presenting them in a new way.

Waves from the Web

Glasses  - Traces of the Familiar, 2014

Over the coming weeks, we challenge you to create your own captions for the artworks in the museum. What do you see? Get creative and let us know via Instagram.

Opening

Untitled, 2015

Untitled (Smile, No Smile), 2005/2007

Foam 3h: 15 years of talent from the Collection

Caption This #captionthemuseum

 in 2015 as a HD video projection on a screen as a 14 minute loop. Text is by Anne de Vries, audio remix by James Whipple (a.k.a.M.E.S.H) and 3D programming by Diego Tonus.

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

The videowork ‘Critical Mass: Pure Immanence’ is inspired by the last essay by French philosopher Gilles Deleuze: ‘Life: Pure Immanence’ (1995), a text that articulates the ultimate integration between all elements and oppositions. Anne de Vries translated Deleuze’s theory to the form and limitations of dance music. It resonates with the recurring sentiment in electronic dance music that calls for unity, for altered states of consciousness and experience beyond society’s divisions. Motivational speaking has become an important element in the relatively recent genre of Electronic Dance Music, Hardstyle, a voice exceeding the music that addresses the masses. It is part of a mostly Dutch phenomenon that represents the next step in dance events, creating whole environments which are, according to De Vries, celebrations of the artificial and synthetic in sound and visuals.