Jolanda Jansen (NL) graduated from the Royal Academy of Art in The Hague (2005) followed by post graduate studies at the Dutch Art Institute in Enschede (2007).
Her video and performance work has been featured internationally among others at Villa Noailles, Hyères (France), Gasometer Oberhausen (Germany), Nan- Hai Gallery (Taipei), CREATurE Live Art Festival Kaunas (Lithuania), Residency Unlimited New York (USA), Witzenhausengallery New York (USA), Primo Piano Livingallery Lecce (Italy), Scope Basel (Switzerland), Cel 32, Berlin (Germany) Arnolfini, Bristol (UK), NordArt Carlshütte Büdelsdorf (Germany), Warsaw International Performance Art Weekend (Poland), Solyanka Gallery Moscow (Russia), PAO Performance Art Oslo (Norway), Performance Crossings (Czech Republic), Venice Performance art week (Italy), Manggha museum Krakow (Poland), Art Center Antares Taidekeskus Sippola (Finland), Morni Hills Performance Art Biennale-II, Government Museum, Chandigarh (India), Performancear O’Morir, Chihuahua (Mexico).
Statement: Jolanda Jansen
In my carefully constructed but direct performances and video installations I submit my body to various transformations, or rather deformations, to engage with the possibility of self-reinvention and release from cultural determinations. My work often stages the passage from a sexualized female body to an animal-like corporeality as a way of challenging constraining definitions of self and of femininity. I strive to disorganize and transform my own controlled body and engage with issues of voyeurism and gender power relations. My approach to performance art is finding a balance between studying formal material in relation to the body in movement and its uncontrolled stages. In my latest performance series Paper Study #, since 2015, this basic material paper gives me the opportunity to put the formal material in contrast with the intuitive body. In this way I create poetic, out of place, surreal, and sometimes disturbing images. Paper doesn’t interest me because of what it is, but more of what it is not. Some say paper is a blank sheet, something that could become something new, or even a new beginning. But as a human you can’t erase your features, or your background. A body is harder to transform than paper, that’s why I like to use paper. It can be strong and fragile like a feather. It has the promise of meaning. I prefer to bring it back to its basic nature, to use it as a natural material, something that was alive, like coming from the wood of a majestic tree. It’s the same in how I like to go back to what it is to be human, with our cravings, shame, fear, anger etc. But we usually don’t like to reveal ourselves so much.
The process of a new work usually starts with investigating the location of where the performance will take place. Each space requires a different approach and offers site specific opportunities. With that I explore the possibilities for ways on how to use my chosen materials in the space. I take into account the scale and shape of the space, and how that can serve in transforming my material, but also me as a performer, and in reverse how the material can transform the space. In case of Paper Study#, the material paper is used as an extension of my body, while it also serves to transform the space, such as to block parts of the space to restrict visitors’ view and my movement, while at the same time the material also has a sculptural function. While I prepare my performances to a certain extent, I leave space for things to emerge in the moment for allowing the subconscious creating poetic, imaginary, and playful images and actions. An important part of my work is the relation between performer and audience. In my earlier performances (year – year) my intention was to provoke viewers out of their comfort-zone and their routine behaviour as an audience member. To do so, I often used the camera as a tool to invade the viewer’s personal space by pointing the video camera on them. I created a double reality by projecting the video feed of the interactions on a screen in the space. I explored the audience’s limits for human interaction. Little intimate actions could lead to aggressive actions or direct intimacy. These works lead me to the question if it is possible to seduce the spectator to take part in the performance without asking them. In my recent performances I involve the public in a more playful and emotionally way. My intension is to invite them to create with me.
In 2009 I was selected for the Mentoring Program for emerging artists and curators of ‘Cultuur en Ondernemen.’ As a mentor I worked with the artist Ulay. In a period of 6 months we had several meetings and reflected on the process of my mentorship. In this period I learned from Ulay’s practice and knowledge and in exchange we discussed my work.
Participating in performance art workshops internationally has influenced my work in my approach of using material, but also has changed my focus more to my senses and sensitivity. It has encouraged me to be more natural and vulnerable in my work. After doing these workshops I wanted to share my positive experiences and the knowledge that I have gained. Performance Site P.S.- in The Hague of which I’m founder and organizer since 2015 is a result of this. It’s an initiative for creating a platform for performance art to foster the exchange between live art practices.