Annemarie Wadlow

film still from upcoming short experimental film, in collaboration with Lucy Cordes Engelman

Ongoing series of drawings in response to archive material and references.

Ongoing series of drawings in response to archive material and references.

In what ways have women artists come together to investigate their own image? This publication delves into histories of feminist and queer collective practice, expanding on the various ways women claim agency of their identity, via collaborations that connect intergenerational and far-away friendships. Each chapter features artistic and theoretical case studies that discuss images produced by women artists, about women artists; proposing that to gaze upon someone represented with care and autonomy provides more affirmative ways to relate to ourselves. It discovers that to pay homage to overlooked knowledge of women artists builds a case for the artist as researcher. Only by engaging in both roles can we unveil what is not taught in the mainstream and inspire a more inclusive, generous future. Each aspect of the book’s design is a collaborative endeavour, expanding the notion of individual authorship. It is with this sentiment that creating the publication became research in itself, via collaboration with both direct peers and an extended genealogy. “Women Looking at Women Looking at Women” is designed by Marijn van der Leeuw, Esther Vane, India Scrimgeour, Hannah Williams and Annemarie Wadlow. Published by Page Not Found

video stills

Installation view Heden

installation view KABK Graduation Show 2020

5/5 exposures. Display view at The Pole, Den Haag - solo show FLYING NO. 6. As the moon moves through its monthly cycle, becoming new over and over; five frames are exposed one by one. They signal the passing of the day, early morning to noon to night. When all frames have been exposed they come together to form a panel, a predella, or a film strip, where they can be viewed as one. Multiple, temporal scenes that project against the sky cycles small and large.

4/5 exposures. Display view at The Pole, Den Haag - solo show FLYING NO. 6. As the moon moves through its monthly cycle, becoming new over and over; five frames are exposed one by one. They signal the passing of the day, early morning to noon to night. When all frames have been exposed they come together to form a panel, a predella, or a film strip, where they can be viewed as one. Multiple, temporal scenes that project against the sky cycles small and large.

3/5 exposures. Display view at The Pole, Den Haag - solo show FLYING NO. 6. As the moon moves through its monthly cycle, becoming new over and over; five frames are exposed one by one. They signal the passing of the day, early morning to noon to night. When all frames have been exposed they come together to form a panel, a predella, or a film strip, where they can be viewed as one. Multiple, temporal scenes that project against the sky cycles small and large.

2/5 exposures. Display view at The Pole, Den Haag - solo show FLYING NO. 6. As the moon moves through its monthly cycle, becoming new over and over; five frames are exposed one by one. They signal the passing of the day, early morning to noon to night. When all frames have been exposed they come together to form a panel, a predella, or a film strip, where they can be viewed as one. Multiple, temporal scenes that project against the sky cycles small and large.

1/5 exposures. Display view at The Pole, Den Haag - solo show FLYING NO. 6. As the moon moves through its monthly cycle, becoming new over and over; five frames are exposed one by one. They signal the passing of the day, early morning to noon to night. When all frames have been exposed they come together to form a panel, a predella, or a film strip, where they can be viewed as one. Multiple, temporal scenes that project against the sky cycles small and large.

Genealogy of references, front view

Genealogy of references, back view

Video still from self-portraits as 'Reclining Woman Who Dreams'

installation view at 1646, a project space in The Hague. Situated amongst consciousness and dreamscape, current research investigates a lineage of representations of the woman in sleep – the reclining woman who dreams. By referring to images made by others and creating new ones of her own, the artist transports the sleeping woman between states of exhaustion, awareness and awake-ness. She is exposed, wilfully lost in a mirage of beauty and body, wearily accepting and rejecting confinement to a frozen place of eternal rest, eternally watched. It is in this space that we can render transparent her inner meditations, her creativity, her dreams; dreams that belong to a parallel world… We realise she is eternally aware and watching us too.

installation view (detail) at 1646, a project space in The Hague. Situated amongst consciousness and dreamscape, current research investigates a lineage of representations of the woman in sleep – the reclining woman who dreams. By referring to images made by others and creating new ones of her own, the artist transports the sleeping woman between states of exhaustion, awareness and awake-ness. She is exposed, wilfully lost in a mirage of beauty and body, wearily accepting and rejecting confinement to a frozen place of eternal rest, eternally watched. It is in this space that we can render transparent her inner meditations, her creativity, her dreams; dreams that belong to a parallel world… We realise she is eternally aware and watching us too.

Video still from self-portraits as 'Reclining Woman Who Dreams'