Created during a 3-month guesstudio and exhibitted at Museum Mesdag, The Hague.

Installation ‘1837-2001’

 

1,50x2x3,50 mtr.

Concerning changing landscapes and changing times.
How power over the other and the environment put men and landscape on the sideline, and simultaneously the impotence to influence both.
About the beauty and richness of raw materials and minerals, which, however, caused much misery to the ordinary worker.
About respect and disrespect.

An installation which found its origin in the timeline in which three members of the family Sadée have lived, as well their opinion on the social and cultural attitude towards men, landscape, and industry.
Philip Sadée, painter and memeber of the Hague School, 1837-1904.
Constant Sadée, MA Mechanical Engineer, worked for the Dutch Coal Mines, 1925-2001,
Juul Sadée, visual artist, born and raised in the coal mine district, 1958

Multi-media
felt, tl, glazed earthenware (similar pills of coal), alabaster, polystyrene, foam, steel, glass, wood, plexiglass, aluminum, air meters from the mine shaft,
Hague School frame, gilded, of the painting "Mending Nets' Philip Sadée
headset with audio and automated attendant which repeats 'Telephone Out of Service'
video with sunset on the sea which turns gradually into a burning petrochemical plant, DSM, the explosion of Naftakraker 2, captured both as slides in 1975 by C.P.M. Sadée

Created and exhibitted at the same gueststudio are i.a.:

- original fisher woman and miner’s clothing stored in a box
- a framed story about a false Sadée painting
- grey figure of felt
- video ‘Collecting Wulks’
- sleeping bag house for a painter
- some drawings and ceramics