by Gerard Koek | juni 2011
In this case by departing from an often repeated image of an open chest a coherent order is constructed. It is a closed formation with surprising vistas. This ‘Pavilion’ in its turn appears to be the carrier of photographic details and even stretched computer simulations, a repetition of the chest. As the centrepiece of the exhibition room the ‘Pavilion’ sets a lively interaction in motion with the surrounding space.
On the walls, large murals appear to continue the dialogue by painterly means. Five, evenly painted panoramic fields playfully interfere with architecture and artwork, witness the reference to windows, gateways and angles. Once inside you, as spectator, become part of the rich associative landscape of Marten Hendriks.
By surprise, one is taken by means of architectural, photographic and artwork appropriations to a point where only one position appears to be feasible for the spectator. That is one of surrender. Not only within the concept of ‘Probe’ but also within the interpretation that Marten Hendriks gives to this, whereby each reference point unequivocally returns to itself. Within this associative magic mirror palace in which each image is reflected as a diverse multitude by means of various media, the disadjustment of the critical viewer has a function. When the measuring view has been surpassed, space appears to be gained for another objective. ‘Levels of Measurement’ seems, by stepping back from any form whatsoever of reassuring affirmation, to challenge us. The play that Marten Hendriks puts into motion seems to pronounce an almost Utopian astonishment. It is a play that with candour and humour adds a marginal note to the sensations of reality, directed by fear, that are prevalent at this time. It is therefore not surprising that he, besides the already present entrance gate, has realised an architectural expansion: an exit.