Edwin Zwakman

Edwin Zwakman

Balcony, 2018, C-print, dia-sec, 29 x 36 cm


Edwin Zwakman


A carefully framed, fictitious situation which is, however convincingly real, is Edwin Zwakman’s answer to the over-whelming stream of images inundating us every day and simulating (as with the CNN broadcasts of the Gulf War) a reality which more often than not, proves to be a lie. Zwakman, on the contrary, resorts to tricks and fabricates lies in order to tell uncomfortable truths. Although power and authority are barely suggested here, and only subtly represented trough their stereotypes, the effect is all the more powerful. For these stereotypes are omnipresent and have been etched deep in our collective memory. Juxtaposing them with each other in contradictory settings, Zwakman awakens hitherto un-defined, yet somehow familiar anxieties, as it were, from the interstice between one image and another, as though through cracks opening op to vision of a veritable abyss.

From: Brouwer, M. (2008) ‘Framing Reality’ in: Zwakman, E. ‘Fake But Accurate’ Amsterdam, Schirmer Mosel (p. 128).

Edwin Zwakman (1969, The Hague, the Netherlands) is currently showing his works in ‘Model’ at Rudolfium in Prague, with a.o. Thomas Demand, Lorenz Estermann, Antony Gormley, Thomas Schütte, Rachel Whiteread. Selected shows are: Reality is not a place, AKINCI (2014), Las lágrimas de las cosas, Centro des Artes Visuales Fundación Helga de Alvear, Cáceres, Spain (2014); Vanished Boundaries, OCT Art Museum, Shanghai (with Liu Jianhua, curated by Zhuang Huan 2011); HUG, Theater in Motion,Beijing (2009); Fake but Accurate, Huis Marseille, Amsterdam(2008); Iconic Target, Ludwig Forum für Internationale Kunst, Aachen (2007); Maison Européenne de la Photographie Paris, France (2006); Fake but Accurate, Gimpel Fils Gallery, London (2005); Stedelijk Museum Schiedam, Schiedam (2003); Centraal Museum, Utrecht (2002); Taipei Biennial (2002) and more.