To mark the launch of SPUN – Society for the Protection of Underground Networks, I’m releasing early the mycorrhizal fungi-related sections of my new film This Entangled Land, which features an interview I did with SPUN co-founder Prof. Toby Kiers about fungal networks in soil and my artwork on the subject. I’ve been drawing on Kiers Lab research for many years, particularly in relation to my project Producers-Parasites-Hosts 2012-2018 (see elsewhere on this site). I’ll be doing a live podcast session with Toby Kiers on 6th Janaury 2022 as part of the De Hortus Winter programme at Hortus Botanicus Amsterdam.
Marking 30 Years in the Netherlands
Retrospective and Studio Sale
Friday 18 September 5 pm – 9 pm
Saturday 19 September 11 am – 6 pm
Sunday 20 September
Address: Losdok, Pakhuis Wilhelmina,
Veemkade 570A, 1019 BL Amsterdam
It’s been 30 years since I arrived in the Netherlands to attend the Jan van Eyck Academy. Please join me to mark the occasion with a retrospective and studio sale of my work at Losdok, the exhibition space in Pakhuis Wilhelmina (where I’ve had my studio since 1993).
Now feels like a good moment to revisit some of my favourite pieces, which first saw the light in exhibitions around the Netherlands, England, Northern Ireland, USA, Canada and Spain over the last 25 to 30 years.
All the work in this exhibition will be for sale and will include one-of-a-kind pieces (cut-outs, drawings, paintings, collages) and limited editions (digital and analogue photographs, silkscreen prints) on a range of scales, framed and unframed.
The works track speculative negotiations and translations of networks, money, land, identities, sea, forests, fungus, roots and waterways. Viewed horizontally, vertically, close-up and remotely.
If you would like more information, please contact me through my contact page on this website or DM me on Instagram (Annabel Howland_studio).
COVID-19 : Due to the COVID-19 situation, there will not be an opening, but I hope people will drop by throughout the weekend. A limited number of people are allowed in the space at any one time, so please bear with us if you have to wait a moment. Refreshments, masks and sanitizer will be on hand.
opening times: Thurs. - Sat. 13:00 - 17:00 hrs and by appointment
exhibition runs until Saturday 16th February 2019
Annabel Howland’s artworks weave speculative webs around ecology, finance and art. Looking through the lenses of different fields of research, she unpicks, isolates and reweaves threads from these systems. The resulting installations constantly shift between scales and perspectives in attempts to fathom and imagine the systems’ complex twists.
The title, Durn that Road, quotes the character Anse Bundren in William Faulkner’s 1930 novel As I Lay Dying. Anse is introduced to us through his rant against a road he finds threatening, mainly because it brings people (i.e. the taxman) to his door, but also because of its implicit demand for movement. “When He aims for something to be always a moving, He makes it longways, like a road or a horse or a wagon, but when He aims for something to stay put, He makes it up and down ways, like a tree or a man.”
For her exhibition at Bradwolff Projects, Annabel has developed a multimedia installation, which takes as its point of departure a road through the rainforest in the state of Sarawak on Borneo (East Malaysia). This logging road started on the coast and was gradually extended through to villages near the border with Indonesia where Sa'ban is spoken. Dr Beatrice Clayre began studying Sa'ban in the 1960s. In 2013 she published a trilingual Malay-Sa’ban-English picture dictionary, by which time the changes to village life brought about by the road had become tangible. In 2016, Annabel travelled the length of the road with Dr Clayre’s son, anthropologist Alasdair Clayre and two Sa’ban friends, filming and interviewing people about the road, their languages and their ways of life.
They started with simple questions about how the arrival of a road affects the people living along it, and how a minority language fares under the changes a road brings. But a line through the rainforest that links communities, which used to be separated by many days travel on foot or by boat, also links other lines that criss-cross the globe, following the long flow of financial capital, raw materials, and religion.
The installation is structured around strong verticals and horizontals, intermittently penetrated by single point perspective.