Wineke Gartz, (Eindhoven, NL, 1968) lives and works in Amsterdam, and was educated at the Academie voor beeldende vorming in Tilburg, Post Graduate St. Joost in Breda, and The Rijksakademie in Amsterdam. Her practice began as a painter, and this has continued to inform her work as a multi media artist working with video, collage, drawings, and photography. She is most known for her site-specific installations, which use multiple video and slide projections, music, and light. Gartz is fascinated by the constantly shifting meaning of the image, whether it is photographed, projected, handmade, copied – especially, how the image is received, remembered or forgotten – and its relation to the body and mind within time and (architectural) space.

Her subjects relate to psychology, beauty, death, illusions, perception, art, mass media, and nature versus urban life. She works in situ to compose her installations. Depending on the project and the space, she uses mirrors, glass, as well as designing special screens, minimal objects or structures in the architecture, which are used to display and project images onto. (Pop)music is often used to create extra layers of meaning and to set the rhythm and pace.

Gartz prefers the outcomes of her work to be open and fluent. Each work grows into the next, and each presentation represents a moment in a series of fluid transitions where the stream of images becomes temporarily fixed in a gallery installation. The imagery is a complex and almost overloaded layering of her thoughts, where meaning reveals itself to the viewer through a prolonged engagement with the work.

I aim to move from obscurity to clarity, allowing the work to grow towards its meaning. A condensing of past, present and future; both mine, and hopefully the viewer's.

Music, pop songs, rhythm or drone, play an important role. The endless groove of psychedelic rock and guitar bands. The precision and freedom of improvisation.

I literally want to film exactly as I look – intuitively choosing a particular scene in a city or landscape. Spending many hours in one place to capture its atmosphere, recording the passage of time, I shift between scanning and zooming in on details, between capturing the moment and registering the past. It’s as meditative as it is an active way of filming. The footage is often combined with sampled imagery, self-portraits and poses. In terms of an editing process, I treat everything as being equally important and valuable. 

I structure the two-dimensionality of the images onto the three-dimensionality of a space, and together with the placement of formal elements and the use of sound and music, I consider how my recordings can be shaped to influence the viewer’s encounters with emotional and filmic states, dreams and lived physical spaces.




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show : curriculum vitae

Wineke Gartz (Eindhoven 1968. NL), lives and works in Amsterdam, The Netherlands

2012 • Artist in Residence; CEAC - Chinese European Art Center, Xiamen, China
2010 • Residency artist studio, cloister ZIN, Vught (NL)
2003-2004 • Research programm CCA, Center for Contemporary Art, Kitakyushu, Japan
1997-1998 • Rijksacademy van beeldende kunsten, Amsterdam (NL)
1996 • Post Graduate Free Art, St. Joost Academy, Breda (NL)
1987-1994 •  Academy voor Beeldende Vorming, Tilburg (NL)

Solo Exhibitions
2018 • Rock Garden, De Nederlandsche Bank Kunstcollectie, Amsterdam
2016 • Ms Candelabra's Platform of Light, 360°BRNDWR, Viewmaster Projects, Maastricht (NL)
2014 • Wineke Gartz - 27 Palms Inn III, PuntWG, Amsterdam NL)
2013 • American Pain I, 3A Gallery, New York (US)
2012 • Hot Freaks, Nest, The Hague (NL)
2012 • Transporting Studio to the brain, Dutch Electronic Art Festival DEAF2012 in collaboration with Galerie Iris Cornelis, Rotterdam (NL)
2011 • Wineke works with Wooden Shjips, Incubate Festival, Tilburg (NL)
2010 • ‘Forwards Backwards’, Temporary Land Art sculpture, Jofrahoeve, Esch (NL)
2009 • Morgana Plains, from silver to gold, Arts Westchester, White Plains NY (US)
2007 • Be Strong, Bytheway Foundation, Amsterdam (NL)
2005 • River Walk, Screens on 11, TPG Building / Stedelijk Museum CS, Amsterdam
2005 • Ueno Park, Disclosures IV, VRIZA, Amsterdam (NL)
2002 • Hit The Feeling, Hedah, Maastricht (NL)
2000 • Planets - Step into a World, The Bakery / Annet Gelink Gallery, Amsterdam (NL)
1999 • Installation Fin de Siècle, l’Institut Néerlandais, Paris (F)
1998 • Poses Positives, Luxus, The Hague (NL)

Group Exhibitions & Projects
2018 • Happy New Year 3A Gallery, 3A Gallery, New York (US)
2017 • Fur, Egg, Hips: Live Event and intervention at P/////AKT, Amsterdam for the soloshow Daisy Chain by Lorelinde Verhees 
2016 • Modus Operandi, Kunstvereniging Diepenheim, Diepenheim (NL)
2016 • Verloren en Hervonden, Tschumi paviljoen, Groningen (NL)
2016 • Cracking The Frame Presents, Punt WG, Amsterdam (NL)
2016 • Snapshot of a Larger Order, Ketelfactory - Nolet Loods, Schiedam (NL)
2016 • Dark glitter sparks, VHDG, Leeuwarden (NL) 
2016 • On Stage it's Bright, Apprentice/Master project 2015-2016, Kuntspodium T, Tilburg (NL)
2015 • upcoming attractions, Mieke van Schaijk Gallery, s Hertogenbosch (NL)
2015 • In Light of 25 Years, Witte de With, Center for Contemporary Art, Rotterdam
2015 • Commisioned artists, DordtYard 2015, Dordrecht (NL)
2015 • HYPERHYPER, VORT, Willem II fabriek, 's Hertogenbosch (NL)
2015 • We Are All Cats, Karma International, Zürich (CH)
2015 • Door het Woord, Door het Beeld, Ketelfactory, Schiedam (NL)
2014 • X Drawings on Language and Communality in A Straight Line, conceived by Marijn van Kreij & Barbara Seiler Galerie (Zürich) fair booth, Amsterdam Drawing, Amsterdam (NL) 
2014 • THRILLING AUTONOMY, analogue perceptions of a parallel network'; curated by Glenn Peeters in collaboration with The Effenaar Eindhoven; Onomatopee, Eindhoven (NL)
2014 • We Are All Cats, 3A Gallery, New York (US)
2014 • Trinitas Highway, Ketelfactory, Schiedam (NL)
2013 • The Elements, Zandvoorts Museum, Zandvoort (NL)
2013 • 5x5Castelló13 International Contemporary Art Prize Diputació de Castelló, Espai d´art contemporani de Castelló, Spain
2013 • Kotka International Video and Electronics Art Festival, Kotka, Finland
2013 • Once more, unto the breach, dear friends, once more' Lokaal 01, Breda (NL)
2012 • Systems Operations; New Works in Video curated by Kenneth White, Eli Ridgway Gallery in cooperation with the Zero1 Biennial. San Fransisco (Cal, US)
2012 • Rolling Snowball/3-Guangzhou, Redtory, Guangzhou, China
2012 • De Wandelaar/ The Wanderer, Marres i.s.m. SKOR; Marres, House for Contemporary Culture, Maastricht  (NL)
2012 • Video exhibition, CEAC, Chinese European Art Center, Xiamen, China
2012 • 30 Days of Peace Love And Painting, organized by Ellen de Bruijne & Jeremiah Day, Ellen de Bruijne Projects, Amsterdam (NL)
2012 • A Drawing Show curated by Dan Graham, Galerie Micheline Szwajcer, Antwerp (B)
2011 • Fax, St Paul St Gallery Auckland, New Zealand
2010 • Different Tracks, Kunsthal52, Den Helder (NL)
2010 • Fax, The Torrance Art Museum, Torrance, Los Angeles CA (US), Plug In, Institute of Contemporary Art, Winnipeg (C), and Para/Site Art Space, Hong Kong
2010 • The Destroyed Room I & II, Whatspace, Perron 58, Tilburg (NL), and The Forgotten Bar / Galerie Im Regierungsviertel, Berlin (D)
2010 • Sifres, Greylight Projects, Heerlen/Hoensbroek (NL)
2009 • Fax , The Drawing Center, New York;  a traveling exhibition circulated by Independent Curators International (ICI) and co-organized by The Drawing Center, and ICI, New York, guest curator: João Ribas (US)
2009 • 3 artists selected by Dan Graham and a work by Dan Graham, 303 Gallery, New York (US)
2009 • Whatbar #2, Hotel Noailles, Brussels,(B)
2008 • Subway #2, Safe, Dalfsen (NL)
2007 • bigPOWERsmallWORKS, gallery Kathareze, Tilburg (NL)
2007 • Paulo Post Futurum, Lokaal 01, Breda’s Museum, Breda (NL)
2007 • Painting +, Approach Art Association, HattyúHáz Art Hall Pécs, Hongary
2007 • W139 / Basement, Amsterdam (NL)
2007 • Kommst du, ich kann nicht mehr, Gebouw F, Breda (NL)
2005 • Drawings, IJssalon Aris Laan, Den Helder (NL)
2006 • Attitudes, De Veemvloer, Amsterdam (NL)
2006 • To Collect 1, Video Art, curated by Noa Sadka, Studio A, Tel Aviv, Israël
2006 • NH-3D, Noord-Holland biennale, KCB Bergen (NL)
2006 • World Unlimited, Museum of Modern Art, Arnhem (NL)
2006 • Three years IJssalon Aris Laan, curated by Emo Verkerk, Museum Waterland, Purmerend (NL)
2005 • Acces, Consortium, Amsterdam (NL)
2005 • GOTS, project in public space, Groningen (NL)
2004 • Define yourself - Defenitions of Space, Public Space Project, Deventer (NL)
2003 • Maeda Studio’s, CCA Kitakyushu, Japan
2003 • CCA Night, galery Cafe Bar Enyen, Tokyo
2003 • Living Apart Together, VRIZA, Amsterdam
2002 • Encounters, Impakt Festival, Utrecht (NL)
2002 • She shows, Nominees, Mama Cash Art Price, Rotterdam
2002 • Being all things to all people, Nouvelles Images Galery, The Hague (NL)
2001 • Central Screening, Centraal Museum, Utrecht (NL)
2000 • Buren, Stedelijk Van Abbemuseum, Eindhoven (NL)
2000 • Leaving the Island - PICAF’, Pusan Biennal, curated by: M. Martinez, H. Hanru & Young Chul Lee, Pusan Metropolitan Museum of Art, South-Korea
2000 • Flowers in the New Time, Noordbrabants Museum, ’s Hertogenbosch  (NL)
2000 • Pitch Fever, de Witte Zaal, Gent (B)
1999 • Kamerschatten, KW14, ’s Hertogenbosch (NL)
1999 • Filmic Images, Galery Ferdinand van Dieten d’Eendt, Amsterdam (NL)
1999 • International Photography Biennal México, Centro de la Imagen, México City
1999 • Unité des Habitants, Art-is, ’s Hertogenbosch  (NL)
1999 • Archisx & Bdybldng, De Fabriek, curated by Koen Delaere, Eindhoven (NL)
1999 •, curated by Hou Hanru, Stichting De Appel, Amsterdam
1997 • Gang01, Lokaal 01, Breda (NL)
1996 • DeRetour, De Fabriek, Eindhoven (NL) and Shed im Eisenwerk, Frauenfeld (CH) 
1996 • CrossoverOverall, Dick Verdult group project, De Fabriek, Eindhoven

Cooperations /Screenings /Other Projects
2018 • The Day of The Young Artist, part of panel, Mr Motley Cafe, De Pont Museum, Tilburg (NL)
2017 • Ch-ch-ch-changes Voorleesbar / Reading Bar, invited by Lorelinde Verhees at P/////AKT during 24 east, P/////AKT, Amsterdam
2016 • Lecture/gathering 'On Intervetion in Art', initiated by Space Projects, Amsterdam
2016 • Lecture & presentation plan 'Cell Memory, Thank You Plant', Hortus Botanicus Haren (NL)
2016 • Live performance 'Dagger Smart Dagger, works with thigh', spoken word, video and sound. Idea, production, texts and live projections: Wineke Gartz; in collaboration with Jan Adriaans (guitar), Julien Grossmann (electronics). Ketelfactory/ De Noletloods. Schiedam (NL)
2016 • Rupture of Representation, Seminar directed by Leire Vergara, with Rana Hamadeh and Wineke Gartz, Cracking The Frame Presents, m4gastatelier, Amsterdam
2016 • Dinner screening with Wineke Gartz, organised by Cracking The Frame Presents, Punt WG, Amsterdam 
2016 • Kunstpodium T - Master Talk with Wineke Gartz, De Pont Museum Tilburg (NL)
2015 • Trumpet & Sound performance for the inauguration of Forwards Backwards II, Idea, production and scenario: Wineke Gartz; in collaboration with Guus Niessen (trumpet), Mark Nieuwenhuis (trumpet) and Dirk Bruinsma (electronics, sound composition), DordtYart, Dordrecht (NL)
2015 • Launch publication Kunstwordtterugkunst #7, De Appel arts centre, Amsterdam
2014 • Distillation, presentations and lectures with Alex de Vries, Patricia Pisters, Jasper van Aarle, Wineke Gartz, Florian Krepcik, Florette Dijkstra, De Ketelfactory, Schiedam (NL)
2014 • Dan Graham in conversation with Wineke Gartz, San Serriffe art book shop, Amsterdam
2013 • Contribution to the 'Museum Shop' by Meschac Gaba, part of the 'Museum of Contemporary African Art', Tate, London
2013 • Artist talk Wineke Gartz; interviewed by Arno van Roosmalen (Stroom The Hague) at Nest, The Hague (NL)
2012 • Panel for Symposium 'Stand van de Stad, cultural scene investigation', SM's, Stedelijk Museum ’s Hertogenbosch (NL)
2012 • Performance and special setting for Garage Rural.e - Tafelontmoeting; Idea, scenario, production and perormance: Wineke Gartz in collaboration with Jan Willem Moulijn (trumpet and performance) and Peter Huber (trumpet and performance). Euro Land Art & BKKC, Jofrahoeve, Esch (NL) 
2012 • Lecture and projections for ZET Foundation, at 'Did you visit this part of the P.A.R.K.', Glazen Huis, Amstelpark Amsterdam
2011 • Participation 'Actors, Agents and Attendants II: 'Learning Play', a seminar/play of Chto Delat & Ultra red, for the SKOR symposium 'Social Housing, Housing the Social', Felix Meritis, Amsterdam
2011 • The Yes Foundation/ Stichting Ja, ‘Ja! Live’ Artnight 2011, ’s Hertogenbosch (NL)
2011 • Contribution for the Series of Extrascoop’11 Presentations, Extrapool, Nijmegen (NL)
2010 • ‘Forwards Backwards’ performance with Eight trucks, opening of Landkunst2010, Summer Manifestation; Idea, scenario and production: Wineke Gartz, Landgoed de Velder, Liempde (NL)
2010 • ‘Forwards Backwards’, Temporary Land Art sculpture, Jofrahoeve, Esch (NL)
2010 • Residency at ZIN guest studio at modern cloister ZIN, Vught (NL)
2010 • Contribution at Symposium ‘Land en betekenis’, ZIN, Vught (NL)
2010 • ‘Forwards Backwards’, Trumpet Performance, Closure event, Idea, scenario, production and performance: Wineke Gartz; in collaboration with Serge Onnen (trumpet) and Jan Willem Moulijn (trumpet), Jofrahoeve, Esch (NL)
2010 • Panel Discussion ‘Morgana Plains, from silver to gold’, with Livia Straus, Anna Gritz and Paul Clay. Artswestchester, White Plains (NY)
2009 • video ‘Seurat, No Monet’, Dan Graham
2007 • Lecture Wineke Gartz & Bradley Pitts, #1: Artistic Approach, De Wittenplaats, Amsterdam
2007 • Lecture Symposium Euro Land Art 2007, ’s-Hertogenbosch (NL)
2006 • Contribution video ‘Home’ to DVD 10 years Post St. Joost, Screenings: Blinde Muur, Chasse Theater, Breda and Urban Espresso Bar, Rotterdam
2005 • Audivideo IV, De Fabriek, Eindhoven (NL)
2002 • Text/photo contribution to Wanakio 2005 urban art exhibition, Naha, Okinawa, Japan
2002 • Installation at festival Kinetic North, The Stubnitz, Amsterdam
2001 • Live video/ slide Performance serie, ‘Theater festival Boulevard’, Den Bosch (NL)
2001 • Short16 mm. black& white film, in cooperation with Jan Adriaans, for film/music performance ‘Testbeeld Rotterdam’, the Filmwerkplaats & Las Palmas, Rotterdam
2000 • Screening: Lost & Found, De Waag, Amsterdam
1999 • Screening: Momentum Art festival, Moss

2018 • Design Commemorative coin 'Jaap Eden, sports icon', commissioned by the Ministry of Finance, The Hague (NL)
2017 • Fur, Egg, Hips: Live Event with spoken word, music and live video projections at the soloshow by Lorelinde Verhees at P/////AKT, Amsterdam
2017 - 2018 • 'Cell Memory - Thank You Plant', commissioned film and permanent installation at the Hortus Botanicus Haren (Groningen, NL) for Stichting Behoud de Groene Hortus in collaboration with TAAK, Amsterdam
2016 • 'Ms Candelabra's Platform of Light', Episode #3 360°BRNDWR, commissioned by Viewmaster Projects, Maastricht (NL)
2016 • Research project at the Hortus Botanicus Haren, commissioned by Stichting Behoud de Groene Hortus Haren (Groningen, NL)  in collaboration with TAAK, Amsterdam
2016 • Dark glitter sparks, video mosaic for VHDG & pop center Leeuwarden (NL) 
2015 • Commisioned Art 2015, working period, DordtYard, Dordrecht (NL)
2015 • In Light of 25 Years, Witte de With Center of Contemporary Art, Rotterdam (NL)
2014 • Design Commemorative coin '200 years Battle of Waterloo', commissioned by the Ministry of Finance, The Hague (NL)
2012 • Design Commemorative coin '300 years Treaty of Utrecht', commissioned by the Ministry of Finance, The Hague (NL)
2012 • Performance and special setting for Garage Rural.e - Tafelontmoeting; Euro Land Art & BKKC, Jofrahoeve, Esch (NL) 
2007-2010 • ‘Forwards Backwards’, sculpture, performances, guest studio period, book and film for Euro Land Art Netherlands and BKKC Tilburg. Development of landart project in the GroeneWoud (Noord Brabant, The Netherlands)
2007 • Dag van het Veen, Fort Abcoude, commisioned by CBK Utrecht (NL)
2006 • Publication ‘Dear East ‘ commissioned by Paradiso and Stichting SKOR Amsterdam
2005 • Urban Screens 05, TPG Building / Stedelijk Museum CS, Amsterdam
2003 • Intstallation ‘Love me’, for the Ministry of Social Affairs, The Hague, commissioned by Rijksbouwmeester
2002 • Design of installation at appartement entrances of the University of Amsterdam, commissioned by the Amsterdam Foundation of the Art, in cooperation with VMX-architects
2001 • Live video/ slide Performance serie for Theater Festival Boulevard, 's Hertogenbosch (NL)

2018 - 2019 • Lecturer, ArtEz Hogeschool voor Kunsten, Docent Beeldende Kunst en Vormgeving Zwolle (NL)
2018 • Exam supervisor, Minerva Art Academy, Fine Arts department, Groningen (NL)
2018 • Guest Teacher, Bcademie, Rotterdam (NL)
2017 & 2018 • Guest Teacher, Fine Art department, HKU Utrecht (NL)
2018 • Coach, Winterlab, ArtEz Hogeschool Zwolle in collaboration with Windesheim Hogeschool (NL)
2017 • Exam supervisor, ArtEz Hogeschool voor Kunsten, Docent Beeldende Kunst en Vormgeving Zwolle (NL)
2016 & 2017 • Guest Teacher, Academy of Fine arts and Design, Maastricht (NL)
From 2014 to 2016 • Lecturer Fine Art, Fontys Hogescholen, ABV Academie Beeldende Vorming, Tilburg (NL)
2016 • Guest lecturer AKI, ArtEz, Institute of the Arts, Enschede (NL)
2014 & 2015 • Exam supervisor, Academy of Fine arts and Design, Maastricht (NL)
2015 • Exam supervisor, ArtEz Hogeschool voor Kunsten, Docent Beeldende Kunst en Vormgeving Zwolle (NL)
2014 • Exam supervisor, Minerva Art Academy, Fine Arts department, Groningen (NL)
From 2006 to 2014 • Professor Fine Art, Avans Hogeschool, AKV/St. Joost, Breda & ’s-Hertogenbosch (NL)
2013 • Guest professor AKV/St. Joost Master of Fine Art, ‘s-Hertogenbosch (NL)
2012 • Guest lecturer at the Tan Kah Kee College, art and design department Zangzhou, Xiamen University ( China )
2012 • Guest Professor Fine Art, Rietveld Academy, Amsterdam
2011 • Guest Professor Drawing, Spatial Design department, HKU Utrecht (NL)
2011 • Guest lecturer, ArtEz, Institute of the Arts, Arnhem (NL)
2010 • Guest lecturer, Portfolio workshop, Academy of Fine arts and Design, Maastricht (NL)
2009 • Exam supervisor, art academy, AKI, Enschede (NL)
2008 & 2009 • Guest professor, ArtEz, art academy, Zwolle (NL)
2006 & 2007 • Guest professor exam students Fine Art St. Joost, ‘s-Hertogenbosch
2006 • Guest professor & lecture at the Masters Fine Art - Post St.Joost, Breda (NL)
2000 • Guest professor Multi media, Art Academy ‘s-Hertogenbosch
2000 • Workshop and lecture, at The Academy of Architecture, Tilburg (NL)
2000 • Workshop Photography at the Faculty days 2000, University of Amsterdam
1999 • Guest professor, Workshop multi media, Art Academy ‘s-Hertogenbosch (NL)

Stipends & Awards
2017 • Work budget Hortus Haren/ TAAK - Kunstenaar in Opdracht, Mondriaanfonds
2016 • Work budget 360°BRNDWR Episode #3, Viewmaster Projects, Kunstenaar in Opdracht, Mondriaanfonds
2016 • Work budget Hortus Haren/ TAAK - Kunstenaar in Opdracht, Mondriaanfonds
2013 • Nomination 5x5Castelló13 International Contemporary Art Prize, Espai d´art contemporani de Castelló, Spain
2009 • Project Grand from the BKVB
2009 • Grand for contribution website, Prins Bernard Cultuurfonds, Tijlfonds,
2007 • Nomination Prins Bernhard Cultuurfonds Noord-Brabant, Beeldende Kunstprijs
2005 Basis stipend Fonds voor Beeldende Kunsten, Vormgeving en Bouwkunst (BKVB)
2003-2004 • Travel stipend from he BKVB for one year residency at the CCA, Kitakyushu in Japan
2002 • Work stipend from the BKVB
2002 • Nomination Mama Cash Art Prize
2001 • Work stipend from the BKVB

Publications / Catalogues
• Defne Ayas, Blessing and Transgressing: A Live Institute, Witte de With Center for Contemporary Art (2018)
• Catalogue 'Thinging', published by P/////AKT, Amsterdam (2018)
• A. d'Ansembourg, 'Er zit iets achter, over filosofie en kunst', ISVW Uitgevers (2017)
• De Grote Nederlandse Kunstkalender, Trichis Publishing B.V. (2017)
• F. Dijkstra, W. Teschmacher, 'Oerstof', De Ketelfactory, Schiedam (April 2016)
• L. ter Borgh, Walking Guide Snapshot of a Larger Order, De Ketelfactory Schiedam (Mar 2016)
• Defne Ayas, Samuel Saelemakers, 'WDWXXV: In Light of 25 Years', Published by Witte de With, Center for Contemporary Art Rotterdam (Jan 2016)
• Publication DordtYart2015, Published by DordtYart (Jan 2016)
• Laure van den Hout, commissioned by DortYart2015, Over ruimtebeleving in het werk van Niek Kemps, Thijs Ebbe Fokkens en Wineke Gartz (Aug 2015) 
• W. Gartz 'Notes before she gets serious', Contribution to Art Magazine Kunstwordtterugkunst Schrift #7 (2015)
• I. van der Spek, Venus in de ruimte, e-book (2015)
• P. H. Steenhuis, R. Gude, ‘Door het beeld, door het woord’, published by the Internationale School voor Wijsbegeerte (Apr 2015)
• W. Teschmacher, F. Dijkstra, 'Trinitas Highway', De Ketelfactory Schiedam (Apr 2014)
• K. Greenberg, 'Meschac Gaba: The Museum of Contemporary African Art', Tate Publishing (2013)
• Catalogue '5x5Castelló2013 Premi Internacional d'Art Contemporani Diputació de Castelló', Published by Espai d´art contemporani de Castelló, Spain (2013)
• Catalogue 'Once more, unto the breach, dear friends, once more', Lokaal 01, Breda (2013)
• 'Rolling Snowball/3- Guangzhou' at the Redtory, Catalogue CEAC China (2012)
• M. Kemper, E. Luermans, M. Prinse,  'land en kunst en buitenplaatsen 2012', BKKC Tilburg (Nov. 2012)
• N. Kim, GRAPHIC magazine, GRAPHIC #24 Amstersdam Issue, Seoul (2012)
• GLASS Magazine, 'Insights - Dan Graham, What gives you faith', Winter Issue Faith (2012)
• W. Gartz, artist pages for SUB #0, Art Sports & poetry Magazine, Raymond Cuijpers and Cole Verhoeven, Amsterdam (2012)
• 'Disclosures', Publication Exhibition Project 2004-2013, VRIZA Amsterdam (2011) 
• J. Adriaans,'Talisman', an exhibition on paper curated by Jan Adriaans, Peeping Tom Edition, Paris (2011)
• Catalogue ‘Wineke Gartz - Morgana Plains, from silver to gold’, Artswestchester, WP (NY), (2010)
• W. Gartz, ‘Forwards Backwards, een monument voor verandering en bezinning‘, Landbladkunstblad #01, Landkunst2010, BKKC, Tilburg (2010)
• ‘Voor Niks’, free magazine project,, Halle (D), Heerlen and Maastricht (NL) (2010)
• E. Dijksterhuis, ‘Global Contemporary artists for artists’, Catalogue Rijksakademie Endowment Fund /Sotheby’s, Amsterdam, June 2010
• M. Pungello, J. Ormond, Video interviews, 'Double Dutch: A Survey of Contemporary Dutch Installation Art', HVCCA & Artswestchester (2010)
• J. T.D. Neil, J. Ahlberg, FAX, The Drawing Center & Independent Curators International, New York (2009)
• Landkunst in het Groene Woud, brochure, NBKS Breda (2009)
• B. Choi, '30', The Sole Proprietor and other stories, Published by Vitamin Creative Space (2007)
• W. Gartz, ‘Be Strong’, poem-copy book, own publication, dec. ‘07
• T. Karreman, J. Schulze, H. Haye van der Werf [red], Catalogue PRESENT, Kunst bij rijksgebouwen 2004-2006, Episode Publishers ‘07 
• A. van der Kuijl, NH-3D, North Holland Biennale, Magazine (2006)
• O. Klijn, D. Murphy, L.Teunissen, Automonografie VMX Architects Agenda, 010 Publishers, ‘06
• W. Gartz, ‘Lief Oost/ Dear East’, Die Keure Brugge (2006)
• T. Tegelaers, ‘ode oost, Wineke Gartz’, Liefde in de Stad, Paradiso en SKOR, Aug‘06
• T. Tegelaers, ‘Sociale Werken, Art at The Ministery of Social Affairs, Rijksgebouwendienst, (2006)
• H. Hanru, C. Esche, R. Fleck e.a., ‘If walls had ears – international art 1984-2004, De Appel, Amsterdam, (2005)
• 'Ueno Park - Men become flowers', text Wineke Gartz. Publikation in the series "Disclosures" of VRIZA (february 2005)
• M. Conijn, 'Deventer',catalogue, 'Define Yourself - Defenitions of Space', Deventer (November 2004)
• Catalogue participants 2003-2004 at the CCA Center of Contemporary Art, Research Programm, Kitakyushu, Japan (March 2004)
• She Shows’, Catalogue, Mama Cash Art Prize (2002)
• ‘Being all things to all people’ Catalogue, 7 young artists 2002’, Year 12 No. 1, Nouvelles Images Galery, Den Hague (2002)
• 'Living Apart Together, behind solid walls', catalogue VRIZA, Amsterdam (2003)
• A. W. Balkema, H. Slager, Concepts on the move, Vol.17( Lier & Boog ), Series of Philosophy of Art and Art Theory, Editions Rodopi B.V. (2002)
• S. de Haan / L. van Brummelen, Catalogue ‘Ter Compensatie’, esthetische experimenten in een een nieuwbouwwijk, (2001)
• B. Steevensz, ‘'Library of the museum Vol. 1,Museum of Contemporary African Art, Meschac Gaba’, Artimo, (2001)
• J.-P. Delarge, 'Dictionaire des arts plastiques moderne et contemporains', Paris: Grund (2001)
• J. Guldemond, ‘bericht uit Pusan’, e-interview, Catalogue ‘Buren/Neighbours’, Stedelijk Van Abbemuseum, Eindhoven (2000)
• H. Slager and A.W. Balkema, ‘Wineke Gartz’, ‘PICAF-Leaving the Island’, catalogue, Pusan International Contemporary Art Festival, South Korea (2000/01)
• A.W. Balkema en H. Slager, ‘Filmic Images’, in “Screen Based Art”, Lier en Boog, Series of Philosophy and Art Theory, Volume 15, Amsterdam/Atlanta (2000)
• E. Hoek, Catalogue ‘Bloemen van de nieuwe tijd’, ‘s-Hertogenbosch (2000)
• K. BrailovskyC. Rodríguez Borja, Catalogue International Photography Biennal, Centro de la Imagen, México D.F. (1999)
• A. van Driel, ‘wineke gartz’, Catalogue ‘Kamerschatten’, KW14 12-28 nov, Drukkerij Biblo bv, s’-Hertogenbosch (1999)
• Publication ‘ 2’, Stichting De Appel (Jan 1999)
• Wineke Gartz 'GOLD HURTS', broadcast TV, Kunstkanaal, Amsterdam (1999)
• ‘Postcard’, project in collaboration with Bram Cox, printed by Post St. Joost, Breda (1996)

Reviews / blogs / TV
• N. Post, ViewmasterMaastricht, (3 Apr 2017)
• S. Monshouwer, Monshouwer Editions, Lorelinde Verhees en Wineke Gartz in P/////AKT (2017)
• V. Hoedemakers, 360 BRNDWR: Wineke Gartz, (26 Dec 2016)
• Patty Morgan,, Wineke Gartz (10 Nov 2016)
• N. Hendrix, Lost Painters Blog, Wineke Gartz - Ms Candelabra's Platform of Light, (3 Nov 2016)
• Viewmaster Projects, video film by Charlotte Lagro: 'Ms Candelabra's Platfor of Light',  (7 Oct 2016)
• K. van der Weide, 'Hortus Sanae krijgt vervolg', Harener Weekblad (24 Sep 2016)
• R. Colee, 'Brandweertoren bewaart daglicht voor 's avonds', De Limburger (23 Sep 2016)
• L. Rijkx, Maastricht Lab, 'Op een andere manier kijken',  (19 Sep 2016)
• M. de Vries, 'Verloren en Hervonden', Harener Weekblad (16 Sep 2016)
• S. Monshouwer, Cracking The Frame Presents, Blog: Rupture of Representation, (20 May 2016)
• T. Dijkstra, 'Hortus Haren krijgt tijdelijk kunstenaarsverblijf', Dagblad van het Noorden (4 May 2016)
• Art Viewer - Special Feature: In Light Of 25 Years at Witte de With, (24 Febr. 2016)
• e-flux,, Latest from Witte de With Publishers (Dec 2015)
• Jeanne van der Horst, Video Portrait, Wineke Gartz,, commissioned by DordtYart2015 (Sep 2015)
• Brabants Dagblad, Expositie van Wineke Gartz, Hendrik-Jan Hunneman en Koen Taselaar in Den Bosch (8 Dec 2015)
• M. Martens Serrano, Laying bare a visual logic is a crucial task of a curator - an interview with Samuel Saelesmakers, Artdependence, Contemporary Art Magazine, Vol. 14 November 2015 (Nov. 2015)
• J. Bosch, DordtYart, (26 Sept 2015)
• chmkoome'sblog: Dordtyart, (2 September 2015)
• R. Verdegaal, Dordtyart, (29 August 2015)
• J. Nieuwenhuisen, DordtYart, (28 August 2015)
• A. Rosenmeyer, Frieze, We are all cats, (20 June 2015)
• NPO Radio 1,  'Het allerbeste' volgens Brigit Donkers, ( 26 May 2015)
• Chmkoome's blog: In Light of 25 Years, (3 May 2015)
• Incubate Blog:  (30 May 2014)
• The Sleeping Shaman: (15 May 2014)
• The Daily Indie: Eindhoven Psych Lab:!02-eindhoven-psych-lab/crlt (3 May, 2014)
• HenkPeter Steenhuis, 'Door het raam naar een andere wereld', Trouw, Letter & Geest (12 April 2014)
• Kim Zeegers, 'Wineke Gartz, Trinitas Highway', Video Interview, The Ketelfactory (2014)
• Chmkoone's blog: 'Trinitas Highway': (9 March 2014)
•  C. Samsom blog, ‘Njet - of Nja’,
•  Nomepierdoniuna Net: Explora los Lugares, Narraciones Distanciamientos y Cuestionamientos del Espai d’Art Contemporani : (21Dec 2013)
• P. Kimpanpää, 'Lintu laulaa kädelläsi sähköisesti', Kymen Sanomat, Finland (2 June 2013)
• K. Jalarvo, 'Mediataide valoittaa Kotkan', Kymen Sanomat, Finland (31 May 2013)
• Piet Mondriaan blog: Wineke Gartz, Hot Freaks: (2013)
• Joyce Roodnat, 'De shock van Hot Freaks, 17de-eeuws en recent' (NRC gaat uit), NRC Handelsblad (10 Jan 2013)
• Chmkoome's blog: (13 Jan 2013), 
• Lost Painters blog, 'Nest; Wineke Gartz - Hot Freaks':   (9 Jan 2013)  
• E. Jansen, 'Pictured #48' blog:  (28 Dec 2012)
•  E. van Lingen, S. Copla, R. Nijman, Nest TV #7, Hot Freaks, accompanying the show Hot Freaks at Nest by Wineke Gartz. Nest, The Hague (Nov.  2012)
• C. Wu, ‘Keeping the art ball rolling’, Common Talk, Xiamen Daily, China (Nov. 2012)
• Rolling Snowball/3, Guangzhou News, China. (Nov 18th. 2012)
• H. Hagenaars, 'De wandelaar vertrekt vanuit Marres Maastricht'. Mister Motley blog:  (11 Oct 2012)
• Drawings & Notes, A drawing show curated by Dan Graham Galerie, Galerie Micheline Szwajcer, (30 July 2012)
• Whatspace, Wineke Gartz, (22 June 2012)
• S. Gompers, Impose Magazine,, Bothering; 'Wooden Shjips' Nash Whalen', (9 Nov 2011)
• A. Berentsen, VPRO 3 voor 12: . ‘Wooden Shjips neemt je mee in een twee uur lange trip. Beeld en geluid gingen nog nooit zo goed samen’, (20 Sept 2011)
J. Verlyen, Cultus;, ‘Incubate 2011: Review’, (19 Sep 2011)
Rocknews – New Frontiers; . ‘Incubate 2011 uiterst succesvol verlopen,’ (19 Sep 2011)
• J. Brand, Kicking the Habit;, ‘Wooden Shjips na aarzelende start alsnog in Bloedvorm op Incubate’, (19 Sep 2011)
• Gonzo Circus,, ‘Gonzo goes Incubate 2011’, (22 Sep 2011)
• Admin, FreshVids; Kickass Cultvideo uit Tilburg; , (16 Sep 2011)
•;  ‘Incubate neemt Tilburg over’, (16 Sep 2011)
• G. van Hoven, ‘Festival Incubate omarmt het punkethos ‘doe het zelf’, Brabants Dagblad, (17 Sep 2011)
• J. Verleyen, Cultus; . ‘Wooden Shjips: We zijn geen retro facsisten’, Interview, (10 Oct 2011)
• M. Wijffelaars, ‘Jofrahoeve décor voor kunstproject, opvallend beeldhouwwerk in weiland Esch’, Brabant Cenrtum Nr. 34 (26 Aug 2010)
• M. van Eck, ‘Ode aan verdwenen platteland’, Brabants Dagblad, (12 July 2010) ‘Openingsweekend Landkunst 2010 ook in Liempde’, Brabants Dagblad, (14 June 2010)
• G. van den Hoven, 'Dertig kunstenaars in 'The Destroyed Room'', Brabants Dagblad, (17 Feb 2010)
• Ben Genocchio, '400 Years Since Hudson, to a Pulsing Beat', New York Times, (8 Jan 2010)
• G. Gouveia, 'Artist Projects a New Image of White Plains', Westchester Eye, (9 Jan 2010)
• Tracy Dutton Ludwig, 'A tale of two cities', The Scarsdale Inquier, (31 Dec 2009)
• K. Rosenberg, New York Times, (8 May 2009)
• G. van den Hoven, 'Expositie met grote mond', Brabants Dagblad, ( 4 Dec 2007)
• AT-5 news, Amsterdam, television broadcast,Wineke Gartz about ‘Lief Oost en de Indische Buurt, (6 Oct 2006)
• E. Beets, NH-3D, Keuze, Palet 4, Year 62, (Aug/ Sept. 2006)
• M. Leij, ‘Geen balans betrokken en esthetische video’s’, NRC Handelsblad, (29 June ’06)
• 'Wineke Gartz, Ueno Park', Voorkeur Amsterdam, NRC Handelsblad, (24 Feb. '05)
• I. van der Spek, 'Kostbaar ego op het spel zetten’, De Humanist No.2, (April 2003)
• S. Spijkerman, 'Reageren op de chaos', Smaak, Tijdschrift van Rijksgebouwendienst, nr. 12, (2003)
• G. van der Linden, BC, Tijdschrift voor Kunst en Cultuur, nr. 7, Year 51, ‘Zwerfkatten, maanlicht en het Instituut Neerlandais - Wineke Gartz, beeldend kunstenaar’, (2002)
• A. Spaninks, ‘Wereldbeelden van Wineke Gartz’, Eindhovens Dagblad (14 Dec 2000)
• A. Demeester, 'Koorts en drang', Tijd Cultuur (B) (2 Feb 2000)
• L. Lambrecht, ‘Pitch fever’, De Morgen (B), (4 Feb 2000)
• Echos de la Presse (F), ‘Installation fin de siècle’, (No 43, hiver 99/2000)
• M. van Hulten, 'Woonkamer leeggeruimd om kunst te tonen', Volkskrant, (25 nov 1999)
• NPS. Ned.3, broadcast TV, ‘Middageditie’, ‘Kamerschatten’, (24 Nov 1999) 
• A. van Driel, ‘Opgenomen in een schimmenrijk’, Couleur Locale, De Volkskrant, (20 Oct 1999)
• R. Schumacher, ‘Bevroren gejoel’, Galerie, Het Parool (14 Oct 1999)
• A. van den Burgt, ‘Terugkijken, stilstaan en vooruit kijken. Expositie van Wineke Gartz in Nederlands Instituut Parijs’, Eindhovens Dagblad (12 Oct 1999)
• Archis Issues 1-6, Stichting Wonen, Amsterdam (1999)
• J. van Elsberg, ‘Wineke Gartz’, Art house, Skrien filmmagazine (June-nr. 1999)
show : Review. Traci Ludwig, '09 (Eng)


Text by Traci Ludwig.

Scarsdale Inquirer, Dec 31th. 2009





Dutch artist explores experience of NYC and White Plains in site-specific exhibit.


For a great exhibition by an internationally renowned artist, you could wander through Soho’s famous contemporary galleries, fly off to Amsterdam to see work with a European edge,  or you could just go to White Plains.

On view at ArtsWestchester’s The Arts Exchange building on Mamaroneck Avenue through Jan. 29, “Morgana, Plains, from silver to gold” is an intelligent show exploring the relationship of place, time and human interaction. The exhibition focuses on visiting Dutch installation artist Wineke Gartz and her self conscious, slightly trippy presentation of video and slide projections on glass, drawings, mirrored reflections, sound, and light. As it thematically juxtaposes New York City and White Plains, Gartz’s installation brings a metropolitan vibe to Westchester’s own “big city” and Manhattan’s “little brother.”


As a site-specific work, Gartz’s installation has taken over the entire Arts Exchange building. Using locally donated materials, old slide projectors purchased from eBay, and an ArtsWestchester construction crew, Gartz blacked out the gallery’s floor to ceiling windows and constructed a 20- x 14-foot glass platform onto which she has layered two separate video projections. Gartz compared the platform to a large “carrying tray for images facing upward, which, although grounded, unite the earth and sky.”

From the floor platform, mirrors reflect videos up onto the walls and ceiling. The gallery’s architecture then magnifies, distorts and scatters the images, allowing projected flashes of light and shadow to move through space in rhythm with Gartz’s accompanying soundtrack. The soundtrack features music by “Wooden Shjips” and fragments of Jay-Z’s “Empire State of Mind.”

“It’s almost psychedelic,” Gartz told the Inquirer during a private tour of the show last week.


Indeed it is. But it is also powerful on many levels. Through its imagery, the main video installation “Morgana Plains, New York City ghosts I” explores the experience of place in two contrasting cities. Within the dichotomy of Manhattan and White Plains, the artist examines generalized and individual perceptions – including iconic notions of what a city should be, as well as personal revelations tied to site-specific minutiae. The show also calls attention to the flux and interaction of travelers, visitors, and residents – and of human influence on a place.

Even the viewer’s role mimics Gartz’s own process of observation. As an expansive installation, the work literally absorbs the viewer into itself. “The physical aspect of it is very important,” she said. “The viewer is meant to walk through the space, go up and down, feel its light and sound, see his shadow cast onto the platform. … It makes it different each time.”

Because of the installation’s transience, Gartz believes viewers share a responsibility for mentally preserving the piece and giving it meaning. She said, “Because [an installation] does not last, it is important to document it well. It is important that certain people were there, that they saw it and had this experience, and that it remains in their memories. … I am here to create, to give something new to a place and to people. But the whole meaning of a piece only reveals itself in time. For me, the meaning begins to reveal itself toward the opening, but then there is a new chapter each time a person comes in and experiences it.”


She likened her work, and any fleeting installation, to a gift. About its short physical life span in contrast to the many months of development, Gartz was “fine with it because that’s how it is.” Essentially, change and being “of the moment” are the nature of her art – and life.

The show’s idea arose more than a year ago when Gartz was participating in a group show in Manhattan. The Dutch consul saw her work and recommended her to the Hudson Valley Center for Contemporary Art, in Peekskill. Its exhibition schedule was already full; so director Livia Straus recommended Gartz to ArtsWestchester – and the introduction led to a perfect match.

ArtsWestchester’s executive director Janet Langsam said, “It is an honor for us to be hosting an internationally-recognized Dutch artist on the occasion of the Quadricentennial and a challenge for us to use our space in such an innovative manner. This ‘work in progress’ has been an inspiration for the entire staff as we have watched the work unfolding over the course of the residency and experienced the suspense of the creative process.”

The Quadricentennial is the celebration of events marking the 400th anniversary of Henry Hudson’s first Dutch-sponsored voyage to the present-day Hudson Valley and a recognition of the area’s Dutch roots in the settling of New Amsterdam (now lower Manhattan.)

In order to gather videos and slides for her work, Gartz spent many hours over several months in New York City, the Hudson Valley, and White Plains. Equipment was mounted on a tripod for most scenes; but she also used a hand-held camera to capture movement when appropriate.

In deciding what to film, Gartz was attracted to unusual juxtapositions and contrasts. Her footage explores stereotypical tourist scenes (skylines, congested traffic, postcard views) as well as unnoticed details and natural elements interacting with the city (tall grass in parking lots, wind through trees, sunlight and water). A suggestion of humans, as revealed through shop window still-lifes and spectral sidewalk shadows, also makes its way into Gartz’s imagery.

“I am a looker. I enjoy noticing things and capturing them before they change,” Gartz said. “I am especially interested in weird combinations and overlooked details – like trash on the streets or the way the light comes through the clouds. I like noticing the past and the future in the present, old things in the new ones, and new things the old. … We are always looking for meaning in the places where we live or visit.”

After an intense two weeks of final filming in October, Gartz combed through almost 25 hours of local footage to select images that best captured the feeling she wanted to convey. She combined local snips with previous New York City footage and images of Europe culled from 17 years of archived slides and videos. 

Gartz edited the segments in a painterly fashion, layering them on top of each other and composing on a “canvas” defined by the Arts Exchange’s specific spatial architecture. In addition to literal imagery, also important were “light, color, and scale,” the artist said.  The final effect is fast paced and dynamic – a deliberate analogy to urban energy.


Each selected image reveals its own strange beauty. “Lots of the [tripod] footage was boring, but then there were moments of greatness,” Gartz explained. “For example, there was so much time of just cars passing and people walking down the street. Then all of a sudden, there would be a moment where the sunlight came out shining across a car and made everything sparkle like magic.”

“I like the beautiful effects of light,” Gartz remarked. Headlights and streetlights, as well as sunlight coming through trees or reflecting off metallic surfaces and water are repeating themes in her work.

Gartz said she took hours of footage from the top floor of the Ritz-Carlton hotel in White Plains, looking down on electrified rows of nighttime traffic and across the county to the skyscrapers of New York City.


“The New York City skyline from the top of the Ritz-Carlton is clear in what it is but blurry in the distance; so it looks like a mirage,” Gartz said, explaining the inspiration behind the show’s title. “Fata Morgana” describes a legendary mirage seen by weary travelers crossing a desert and a popular phrase among Europeans.

According to an explanation prepared by ArtsWestchester: “By using only half the phrase ‘Morgana,’ Gartz seeks to suggest a fragmented mirage that does not literally reveal itself, but invites the viewer to observe it carefully and contemplate its meaning. … Gartz contends that these ‘mirages’ highlight the ‘duality of opposites,’ a concept that is central to her work.”

Gartz explained, “Shifting between seeing the Manhattan skyline from a distance, and then being right in it, is a way to reflect a truth about daily existence. The beauty of the Manhattan skyline is iconic. However, when you are on the streets of Manhattan, you can closely witness how opposites exist side by side. You can see the details of ecstasies, such as successful people, the energy of the city, etc., contrasted with the failure, pain, and loneliness that are also prevalent. … The idea of opposites is also explored in contrasting images of a large city such as Manhattan, and a small city, such as White Plains, as well as the opposites of town and country. I guess I am looking for the truth in cliches.”


Gartz explained it took about two weeks to compose and mount the installation on site. “I used the whole building and had to play with things to get them just right,” she said. “It was a challenge because I have never worked in a space like this before.”

The Arts Exchange occupies the grand baking room inside a former turn-of-the-century bank building on Mamaroneck Avenue. It is full of interesting niches, an upper gallery, massive windows, and the original round banking vault. In its day, the building was the tallest “skyscraper” in White Plains.

“Usually I work with videos projected onto walls. This was the first time I worked on the floor,” Gartz said.

The main floor installation, titled “Morgana Plains, New York City ghosts I,” actually looks different from various vantage points inside the building. With the benefit of height and a head-on perspective, its images are most clear when viewed from the upper gallery. However, up close on the ground, a viewer’s first encounter can actually be slightly disorienting.

But this contrast fits the topic, underscoring that a city can be dizzying at first. Also the downward perspective from the upper gallery not only figuratively suggests an omnipotent perspective of knowledge; but it also, quite literally, imitates a view from a skyscraper window.

Because the building has niches and spaces outside the reach of the main video installation, Gartz has created four other related installations. “From silver to gold,” a diptych of contrasting slides from New York City, Westchester, and the Netherlands occupies a side gallery on the main floor. “It’s full of stars, collage,” a collection of manipulated black and white Xeroxes, is mounted inside the former banking vault in the main gallery. On the second floor, “Morgana Plains, water in the sky I” overlaps three slide projections and two video projections to extend the comparison of New York and White Plains. Finally, “Red Light, Poses I” is a DVD loop of the artist’s leotard-clothed body in a variety of provocative poses, bathed by red light.

 “I put this [Red Light, Poses I”] inside a window niche with the red light to be ironic about the stereotypes people have when they think of Amsterdam and Holland – and how the red light district always comes up,” Gartz laughed. “But seriously, it is also about being an artist and the way we reveal our inner selves and outer selves in our work.”


- Scarsdale Inquirer, Dec 31th. 2009 -


>For images:





show : Text based on a conversation. Annette W. Balkema & Henk Slager, 2000 (Eng)

Text by Annette W. Balkema & Henk Slager

Wineke Gartz' environmental intervenions confront human beings and their world view with the directness of their own physical existance, which appears to be both inviolable and vulnerable.

Wineke Gartz

When I was still painting a lot, I often did not start with the figure as such. Rather, I began with the black surrounding space, so that was already looming, as it were. However, that is an inverted way of paitning. Such an open space that lights up seems close to foreboding my current work which consists of alcehemist assemblages of video, slides, mirrors, time and space. The image I now have of most of my environmental installations is that of a landscape where one may roam, both literally and figuratively. Therefore, the relationship between what is painted, what moves and what stands still has to merge naturally. In a way, I am a collector of images. The collection runs through a filter and then, in a montage, I create a new image. In painting, I did something similar, but still held the opnion then that everything should be condensed into a unique, autonomous image. But the pictures, drawings and sketches in my studio were in fact more interesting to me than that one ultimate painting - which never was completed anyway. A moving-image projection is a fantastic avenue to connect all kinds of image dimensions by showing them in one format and adjusting the physical scale of the projections to the human beings roaming around them. So, I found a way to combine images, not only painterly images, but bare images from reality as well.

         I like the straightforwardness of film, photography and video. Such straightforwardness shows what something is, things appear as they are. In painting, I always had the experience that if I wanted to show something as it is, it changed into something else because of my own signature in color and paint. Moreover, painting is very slow in processing all kind of images. In search of a way of handling images bombarding me from both the inner and outer world, I found that collecting them by video and photography at least allows to capture them.

         Nonetheless, I am still attracted to the enormous impact painting has and to how painterly problems are solved. I am moved by painting simply because of its pure materiality. However, I work with a time-space dimension: images are scattered and rhythmically composed in an environment, but the installation as such is assembled with a painterly eye. It is a composition where space is the canvas, the slides are the colors and the forms, and there is chiaroscuro. But the height of the baseboard, the size of the walls with respect to the viewer, the placement of the door, and the position of the projector are equally important. Most of the time, I want my images to be lifelike or even bigger, so that one can relate physically to the projected images. It is my task to make the environment and the work fuse together. Just like painting, an installation should be well-balanced. My installations are arrangements in time and space where I regulate to a certain extent the stream of images in order to conduct the viewer. In fact, I throw all kinds of experienced images through my mind, as it were, back into the world from where they originated.

         In my work, I strive for a sort of classic harmonious unity. At the same time a form of harmony invites the urge to resist and to be transformed into a specific sense of dissonance. One always has to take the edge off a certain model, one has to engage repeatedly in an investigation of the boundaries of images. In video, though, and cinema and theater as well, one can hardly speak of images since that concept is too static. In that respect, visual environment and space-body interactivity seem to be better terms, where images merge together with sound and a time span.

         Whether or not the term art will survive, I do believe that in creating artworks, one relates to the world and to the people. That process is connected to taking part in the pleasure of observing and experiencing that which tends to go by unnoticed. An artwork directs spectators, but confronts them at the same time with something grander than themselves. A work of art opens up, liberates through and makes shifts in regular ways of seeing. It plays a role in one's capacity to love life and to understand why one is in the world. Therefore, it is important that the figure of the artist survives no matter how that figure manifests itself. I continue to trust people who as creative forces in society are involved in creating art in all possible freedom.

Amsterdam, 2000

This text is based on a conversation with the artist, originally written for the PICAF catalogue for the Pusan International Contemporary Art Festival 2000 in South Korea.



show : BIO SHORT

Wineke Gartz exhibits in the Netherlands and in various countries worldwide. Her site-specific installations consist of complex overlays of imagery and media, often with the use of music and multiple video and slides projections and with the integral use of the architectural space. Her parallel realities include mixing the ordinary with the heroic, creating an almost hallucinatory experience. Her subjects relate to psychology, beauty, death, illusions and perception, nature versus urban life, art and mass media. Gartz is interested in the combination of spirituality, art and science. Currently she is developing video lectures about her work and started to collaborate with musicians.

show : BIO LONG

Wineke Gartz, (Eindhoven, NL, 1968) lives and works in Amsterdam, and was educated at the Academie voor beeldende vorming in Tilburg, Post Graduate St. Joost in Breda, and The Rijksakademie in Amsterdam. Her practice began as a painter, and this has continued to inform her work as a multi media artist working with video, collage, drawings, and photography. She is most known for her site-specific installations, which use multiple video and slide projections, music, and light. Gartz is fascinated by the constantly shifting meaning of the photographed, projected and copied image – especially, how the image is received, remembered or forgotten – and its relation to the body and mind within time and (architectural) space. Her subjects relate to psychology, beauty, death, illusions, perception, art, mass media, and nature versus urban life. She works in situ to compose her installations. Depending on the project and the space, she uses mirrors, glass, as well as designing special screens, minimal objects or structures in the architecture, which are used to display and project images onto. (Pop)music is often used to create extra layers of meaning and to set the rhythm and pace. Gartz prefers the outcomes of her work to be open and fluent. Each work grows into the next, and each presentation represents a moment in a series of fluid transitions where the stream of images becomes temporarily fixed in a gallery installation. The imagery is a complex and almost overloaded layering of her thoughts, where meaning reveals itself to the viewer through a prolonged engagement with the work. It is almost as if she is creating a series of feedback loops with the world and her engagement with it. This autobiographical nature of Gartz’s work enables the artist and the audience to share a consciousness about the world and the self.

Wineke Gartz has travelled widely to realise her projects. In 2000 she participated in the Busan Bienalle, South Korea. This first encounter with Asia led to a year long working period at the CCA Center of Contemporary Art in Kitakyushu, Japan (2003-4), as well as working visits in 2004 and 2012 to China (Xiamen and Beijing) and Hong Kong. Since 2008, these journeys have been contrasted with numerous trips to the USA to make recordings on the east and west coast. These have led to a solo exhibition at Artswestchester in White Plains (NY, 2009), working with San Francisco based psychedelic rock band Wooden Shjips for a collaboration at the Festival Incubate (Tilburg, NL, 2011), and participating in group show 3 artsits selected by Dan Graham and a work by Dan Graham at 303 Gallery, New York City. Her solo exhibitions include: Ueno Park, Disclosures IV, VRIZA, Amsterdam (2005), Hot Freaks, Nest, The Hague, (2012), American Pain, 3A Gallery, New York (2013), Rock Garden, De Nederlandsche Bank Kunstcollectie, Amsterdam (2018). Groups show include: Neighbours, VanAbbemuseum, Eindhoven, NL (2000), Fax, The Drawing Center, New York (2009), Rolling Snowball/3-Guangzhou, Redtory, Guangzhou, China (2012), 30 Days of Peace Love And Painting, curated by Ellen de Bruijne & Jeremiah Day, Ellen de Bruijne Projects, Amsterdam (2012), Systems Operations, curated by Kenneth White, Eli Ridgway Gallery, San Fransisco, USA (2012), 5x5Castelló13 Art Prize, Espai d´art contemporani de Castelló, Spain (2013), Trinitas Highway, Ketelfactory, Schiedam, NL (2014), KIVEAF, Kotka, FIN (2013), In Light of 25 Years, Witte de With, Center for Contemporary Art, Rotterdam (2015), Modus Operandi, Kunstvereniging Diepenheim, Diepenheim (2016), Happy New Year 3A Gallery, 3A Gallery, New York (2018). Her work is included in various private collections, and public collections include Swiss Re, Switzerland, The Tate, London, England.


show : Text on Wineke Gartz by Alexandra Landré, '17 (Dutch)


The site-specific installation 'If I had one image this would be enough, If I had two images this would be ... II' was part of the group show 'Modus Operandi', curated by Alexanra Landré at Kunstvereniging Diepenheim. 

Wineke Gartz


Ik zet alles in het werk om een bevrijding van het denken mogelijk te maken, om meerdere dimensies te openen voor lichaam en geest”. Deze ambitie van Wineke Gartz is terug te zien in haar grootschalige installaties. Het zijn multimediale belevingswerelden waarin de bezoeker binnenstapt. Projecties, beelden, tekeningen, objecten en gevonden voorwerpen vloeien constant in elkaar over en vormen een totaalervaring. Het is een collectie aan fragmenten en zintuiglijke indrukken uit een persoonlijke als ook collectieve beeldcultuur die in een grote stroom opgaan. Voor het werk 'If I had one image this would be enough, If I had two images this would be ... II' maakt Gartz onder ander gebruik van beelden uit stedelijke omgevingen, wellicht herkenbaar maar toch onbekend. Het is deze werking van beelden die Gartz fascineert ‘Wat zijn beelden eigenlijk:vastgeroeste denkbeelden, projecties, illusies, mythen? Ik wil het beeld graag bevrijden, ontkaderen’.  Om dit te bewerkstelligen zet Gartz in op het proces van kijken - niet als louter visuele perceptie, maar als geheel zintuiglijke ervaring. De compositie van deze ervaringsruimte vraagt om nauwkeurige afweging van alle elementen. Het is een wisselwerking tussen het analytische kijken, reflecteren op beleving evenals intuïtieve kennis. De nadruk komt te liggen op een gewaarwording van het belevingsproces door zich er ruimtelijke doorheen te bewegen.


Het resultaat is een ruimtelijke choreografie, die ieder beeld weerkaatst, voelbaar maakt en weer open breekt en zich oplost in het moment, om zo ruimte te maken voor nieuwe ideeën. 


show : Opening Speech Mark Kremer about Rock Garden, Wineke Gartz', '18 (Eng)

Talk byMark Kremer about‘Rock Garden’by Wineke Gartz 


We are standing here amid streams of images: recordings of Amsterdam, the constant movement in the city, and the simultaneity of events. We are part of the artwork. It is called Rock Gardenand was made by Wineke Gartz. She started thinking about and designing the work about a year ago, and in the last few days, she was here aligning all its elements. Crucially, the artist composed the artwork specifically for this place.


Rock Gardenhas many components: several video projections are screened onto the walls, some slides too, and a few of her drawings are hanging. On the floor are some objects, such as two bales that glow silver and gold in the changing light. This type of artwork has many names: multi-media installation, immersive environment, site-specific (or site-sensitive) installation. I call it an artwork-as-environment.I find the alignment of its components remarkable, how different images and ‘worlds’ hinge upon one another, the arrangement of different flows – things find each other. 


This work is poetic (a bit wild too, somewhat psychedelic and trippy). Wineke Gartz’s image combinations are ‘incongruous’, creating exciting effects. For example, the enlarged handwriting influences the way you look at the images of a building. In 1953 Octavio Paz wrote the poem El río (The River) when he was chargé d’affaires of the Mexican embassy in Geneva. This poem is probably a portrait of that city. Here are the first ten of the poem’s 48 lines:


The restless city circles in my blood like a bee.

And the plane that traces a querulous moan in a long S, the trams 

            that break down on remote corners,

that tree weighted with affronts that someone shakes at midnight in 

            the plaza,

the noises that rise and shatter and those that fade away and

            whisper a secret that wriggles in the ear,

they open the darkness, precipices of a’s and o’s, tunnels of taciturn


galleries I run down blindfolded, the drowsy alphabet falls in the pit

            like a river of ink,

and the city goes and comes and its stone body shatters as it arrives 

            at my temple,

all night, one by one, statue by statue, fountain by fountain, stone by 

            stone, the whole night long

its shards seek one another in my forehead, all night long the city 

            talks in its sleep through my mouth,

a gasping discourse, a stammering of waters and arguing stone, its





Wineke Gartz’s artwork shares similarities with Paz’s poem.In both works, the city is ‘rolled out’ as a landscape. Images immerse us in a polyphony of impressions and experiences: scenes of daily life in Amsterdam alternate with exterior shots of De Nederlandse Bank, its park-like perimeter punctuated with a parade of rocks. Everything takes place around some kind of ‘consciousness’: there is no all determining ‘I figure’, but instead a very receptive receiver of sensations (compare with Lucebert): someone who stands in the eye of the storm.


The artist has opened up the bank building, as it were, and the surroundings flow in with full force. This artwork therefore enacts a gesture: it embodies a deed that seems to tell of the bank’s near future when the gold supply will be removed; when the institute can assume an open character and have an exhibition space for the public.


Rock Gardenis an artwork that exorcises this place.It throws desire ‘into battle’ – for vistas that appear nearby. The title refers to rock or Zen gardens, such as the Ryōan-ji (The Temple of the Dragon at Peace) in Kyoto. This garden consists of a bed of fine pebbles upon which rest fifteen sturdy rocks arranged in such a way that one can only see fourteen from any one position. Zen tradition says that upon enlightenment, one is also able to see the fifteenth rock. 


Wineke Gartz sees this artwork as a form for meditation: to face the swirling stream of your thoughts, to become the silence in the storm yourself. This is one of the challenges of her Rock Garden; another is seeing or experiencing the city as a landscape. When do we caress the rock, listen quietly to city noise, look carefully, and are touched by a cyclist waiting at the traffic light? Gartz intertwines restless cityscapes with rural scenes. A reed swaying in the wind reveals immeasurable grace. A string of dark smoke comes from a factory chimney, taking the form of a cloud nearby – the scene’s beauty almost makes us overlook the pollution it depicts.


Three black bags on the ground. Iron bars and fencing stand against the wall. Are they symbols of threat, protection, or defence? Marianne Moore’s strong characterisation of poetry also seems to apply to art: ‘[Art] is about imaginary gardens with real toads in them.’ Wineke Gartz describes the imagery in Rock Gardenas simple vignettes that can, however, arouse heartfelt attention as they concern life, things that are real, things we can love. In her remark and observation, we sense a utopian creed of a better world. Her upbringing in a family firmly rooted in the 1960s instilled her with that period’s ideals, which she continues to embrace. 



Around 1997, Wineke Gartz began making spatial, multi-media installations, often depicting an entire ‘world’. Her work reminds me of artists such as Douglas Huebler, Fischli & Weiss, and Diana Thater – all outspoken analogue artists, in my opinion. Huebler, for example, once wanted to photograph all newborn babies around the world. The journeys would have taken him everywhere, but he was specifically interested in contact, the encounter. This artistic ambition to embrace the world emanates an underground-like élan. The idea or design is as unrealisable as it is communicable.


By representing the city as a landscape, the artist creates opportunities for daydreaming. Thus, we can train another awareness and connect to images already inhabiting the subconscious. For example, here hangs a copied ‘dream map’ of the Chukchi people. ‘Maps show the way and reduce the risk of getting lost. Here the paths run to the worlds of the dawn, the evening, and the darkness, through the pole star, the axis of the world, while the sun, moon, and stars all shine at once.’ This is about the inner journey, the internal and spiritual compass, and specifically the experiences of a shaman.


We see light images and shadow images.Realities permeate one another, the artist merges two projections, and the reed sways above a rock. A vessel form (echoing the column in this space) – in fact, this form is generated using VJ software – functions as an incubator for changing realities. Thevessel is steadily filled with new content: inside, different scenes always play. It is like the creation of a demiurge.


The low bright sun instils the urban imagery with a trippy, daydream-like quality. It reminds me of Photorealist paintings: the fronts of bars in New York painted by Richard Estes in the 1970s, where a glass door leads the eye inside to an array of shiny surfaces that generate an incredibly intense light. Those works vibrate with electricity. But here it is different. Wineke Gartz’s images invite you on an inner passage – a mystical journey: one of introspection.


In turbulence is stillness – in the most unexpected places. Here hangs another drawing. It depicts a kindly man and is based on a photograph of a statue, somewhere in Ethiopia, honouring a great warrior who killed many enemies. It’s as if the warrior is reborn. Perhaps what we experience here – and, en passant, in secret – is Wineke Gartz’s motive and what she is aiming for, namely the process of change. Interaction is central to this work, how one thing affects the other; a symbolic image of how one person can touch another.


This talk was given at the art space of De Nederlandse Bank, 15 November 2018.