The work of Joke Robaard (Meppel, 1953) is an ongoing study of how people are represented; the way they function in groups and networks. Her photographic pieces, canvases, videos and diagrams reflect the changes and shifts in how people, clothes and language are interconnected. At the same time, she observes and analyses the use of fabric metaphors in public and political discourse.
Since 1978, Robaard has kept an extensive visual archive consisting of thousands of pages and cutouts from magazines and other print media. Based on this, she has published ARCHIVE SPECIES, Bodies, Habits, Practices (2018) together with writer Camiel van Winkel. In the book, she makes an inventory of strategies of ‘represented humanity’ and takes a critical look at them.
Joke Robaard is exhibiting works spanning her entire oeuvre at Club Solo. In order to keep the work on display current, and to connect it with Club Solo’s context, Robaard will be working with young people, as she has done before. Footage for her new video project DOMINO/B has been recorded at Club Solo. By filming young people watching and discussing a specific part of her archive (Posture), Robaard aims to intensify their point of view. In doing so she asks whether it’s possible to ‘say’ what you see. These actions share the properties of performance and public class, with the perception of visual culture as a topic. This simultaneously activates Robaard’s archive and links it to a new set of viewpoints.
M HKA will be responding to Joke Robaard’s solo exhibition by showing The Most Commercial Project (2010), an installation by Alevtina Kakhidze. Kakhidze was born in eastern Ukraine. Since 1995, she has alternated between living in Kiev and Muzychi (central Ukraine), except for a research period at Jan van Eyck Academy in Maastricht, the Netherlands (2004-2006). Her art is based on personal experiences. Her aim is to establish a dialogue about subjects like consumerism, gender, love, protest culture, and her own war experiences.