System 8, from the series Kosmos, 2011

Joris Jansen

On Thursday 24 January Joris Jansen will be at Foam for Outside/In, Foam's programme where guest speakers delve deeper into the stories behind exhibitions at Foam.

ATTENTION: this event is in Dutch Joris Jansen is one of the founders of design and campaign agency Ultra Ultra and guest speaker during Outside / In on 24 January. With projects such as the Tosti factory, Coco Canned Foods and the Doehetzelfkip, they pay attention to, among other things, the value of food, sustainability, food waste, craft &amp; industry and the relationship between consumer and producer.
ABOUT THE EXHIBITION Feast for the Eyes&nbsp;shows the rich history of food photography - not only in the visual arts, but also in commercial and scientific photography and photojournalism. From the banality of the&nbsp;diner-breakfast&nbsp;special of Stephen Shore the to the allegorical still life of Laura Letinsky, from Roger Fenton's extensive nineteenth-century displays of food to the cookbooks of the sixties. The extensive exhibition,&nbsp;Feast for the Eyes,&nbsp;explores the most important figures and movements in food photography.
<a href="/museum/programme/feast-for-the-eyes">&gt; Learn more</a> 
<img src="https://a.storyblok.com/f/113697/456x93/e17348f445/bbf_and_partners_aperture_food_foamen4.jpg" alt="" width="456" height="93" />
Feast for the Eyes &ndash; The Story of Food in Photography is organised by the Aperture Foundation, New York and curated by Susan Bright and Denise Wolff.
The exhibition is made possible by the Blockbusterfonds.&nbsp; 
Mediapartners: ELLE Eten, Het Parool
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, Gemeente Amsterdam, Olympus and the VandenEnde Foundation.

<div class="sidebar__content">EVENT INFO 
Thursday 24 January 2019 6.30pm - 8.30pm&nbsp;
&nbsp;
PRICE &euro;7,00 regular rate &euro;5,00&nbsp;<a href="/about/memberships" target="_blank" rel="noopener">Foam Fan</a>/<a href="/about/memberships" target="_blank" rel="noopener">Club</a>/<a href="/about/foam-fund" target="_blank" rel="noopener">Fund</a> *including&nbsp;<a href="/museum/visitor-information">museum admission</a>
&nbsp;
LANGUAGE Dutch</div>

Outside/In: Joris Jansen

Joris Jansen describes and photographs pictures in microscopic detail: from the literal image in the photo, to the physical elements with which it is made.

In Kosmos, Jansen approaches an analogue photo from an encyclopaedic perspective. The result is a site-specific work for the Foam library on the third floor.&nbsp;
The exhibition revolves around a single old analogue photo. This picture does not actually appear in the presentation, rather Jansen uses word and image to analyze all the information conveyed by the photo. The result is on the one hand a kind of encyclopaedia of everything relating to the photo. On the other, the material of the photo itself is examined. Using microscopic images in which the chemistry and grain are magnified hundreds of times, Jansen presents an abstract world in which the structure and texture acquire an extraordinary appearance.
<img src="https://a.storyblok.com/f/113697/595x446/2036e94a9c/595_10_x_d__2010__copy__joris_jansen.jpg" alt="" width="595" height="446" /> 10 x D, 2010 &copy; Joris Jansen
Kosmos was made possible with support from Van Bijlevelt Stichting and &amp;Samhoud.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, City of Amsterdam, Delta Lloyd, Olympus and the VandenEnde Foundation.
ABOUT THE EXHIBITION This examination of the boundaries of photography and the uses of the medium is a recurring theme in Jansen&rsquo;s work. In Flock, his final exam series, he explored the photo&rsquo;s meaning and its material. Using clich&eacute;d photographic images &ndash; landscape, portrait and still life &ndash; Jansen presented three massive photos. These were constructed from hundreds of individual photos on the same theme, all found and collected on Internet. It is the viewer&rsquo;s distance from the work that then determines how the picture is read. From close-by, the viewer reads only a combination of pixels, while the further back the viewer steps the clearer the picture becomes.
Another series, Pictures of Hue, comprises photos in which the pixels of the original photo are rearranged. Jansen made this new arrangement based on the place of the individual colours in the HSB colour chart. The resulting abstract forms produce entirely new images.
ABOUT JORIS JANSEN Joris Jansen (b. 1980) graduated in 2009 at KABK in The Hague and won the Steenbergen Stipendium the same year. He has exhibited at Netherlands Photo Museum in 2009, CBK Rotterdam in 2009, CBK Den Bosch in 2010, Galerie van Kranendonk, The Hague in 2009, Ten Bosch Initiatief, Den Bosch in 2010, Ministry of Education, Culture and Science (OCW), The Hague, Kulter Amsterdam in 2009 and Pulchri The Hague in 2010.

 in 2003. The artwork is an analogue c-print and is displayed at 30 x 40 cm.

The artwork explores genres such as architecture and autonomous photography.

Untitled from the series Portfolio Zuidas

 in 2004. The artwork is an analogue c-print and is displayed at 61 x 80 cm.

visible in

is the main business district of Amsterdam, located south of the inner city. Starting in 2001, every year two to four photographers and visual artists received an assignment to capture this area and its rapidly changing environment. The ten works by Jasper Wiedeman that feature in 

 are a documentation of the garden that he created in the middle of the Zuidas.

06.09.2004

 in 2018. The artwork is an ice photogram digitally printed on glass, and is displayed at 33 x 40 cm.

In an attempt to minimize the devastating effect of global warming on the glaciers of the Swiss Alps, each summer they are covered with geotextile blankets that are designed to keep the ice cool. Douglas Mandry journeyed his native country, intrigued by this desperate attempt to prevent the receding glaciers from further melting. The artist collected disused pieces of geotextile from the mountains, and later processed them as a base for found photographs of early twentieth-century alpinism in the region. Mandry also took bits of broken ice from the glacier with him in a cool box. In the darkroom, he put the ice in the enlarger, where it started to melt and drip onto the photo paper, creating a colourful aura of the glacier. Mandry then reproduced these photograms on glass plates. 

could be considered an index of the vanishing glaciers of Switzerland: frozen time, captured in an instant by the principles of photography.

Monuments, Aletsch #2, 2018

 in 2011. Using c-print as the medium, the artwork is displayed at 99 x 129 cm.

 is reminiscent of outer space; it is a familiar picture  of the infinite, of the unknown and total chaos that surrounds us. The photographs in the series 

 by Joris Jansen refuse the reading of the medium of photography as a method to make things visible. His photographs rather make things invisible. Jansen rephotographs the surface of an analogue photograph. By doing so he creates an imaginary universe full of milky ways and swarming planets. This new universe is far removed from the initial photograph and thus only the materiality of the analogue photograph seems to be relevant for the creation of a completely new universe. 

joris-jansen