Stephanie Rhode

Die Frau die Rosenblätter zählt

‘The woman who counts the rose petals’
Installation at the Cobra Museum Amstelveen NL
Installation- performance

During the performance, a young woman peels rosebuds, one by one. With much patience one rose petal after the other is removed from the roses and collected in different glass jars. On these glasses are stickers with the information about how much rose petals are in it and at which time and date they were counted. The installation changes daily. At the end of the exhibition, most glasses are filled. But some rose petals are already wilted. The installation reminds us of a factory where a stock of important things is produced. Every time the rose buds come to an end, new rosebuds are delivered and then the woman continues to count the petals. It is this repetitive action that gives it something meditative, but at the same time it is also somewhat unreal, maybe even nonsensical. The main idea behind this installation is:
’ What do we do all day long and why do we feel the need to constantly do something?’


Abmessungen : 220 cm x 80 cm x 160 cm (Height, Width, Depth)
Gewicht : 10 kg
Jahr : 2014
Material : Metall, Mixed Media, Installation, Performance, Video, Sound

Stephanie Rhode

Installationen im öffentlichem Raum: Ein immer wiederkehrendes Thema in meinen Arbeiten ist das Symbol des Hauses. Seit mehreren Jahren beschäftige ich mich mit diesem Thema. Das Haus als Symbol hat eine ambivalente und vielseitige Bedeutung: Wir bauen uns Häuser und schaffen uns Raum für uns. Träumt man aber von einem Haus, so symbolisiert dies eine Rückkehr zu den Grundwerten, die man als Kind gelernt hat. Im Vordergrund steht nicht das intellektuelle Verstehen des Symbols, sondern das vertiefte Erleben der Wirklichkeit. Ein zweiter Aspekt in meinen Arbeiten ist die Wiederholung: Durch das Vervielfältigen einer einzigen Form wird diese deutlich und erkennbar. Erst in der Wiederholung versteht man oft die Schlichtheit eines Ereignisses. ENGLISH Installations in nature and public art A recurring theme in my work is the symbol of a house. During the last few years I’ve been working with the theme 'House'. The explanation of the symbol ‘House’ is ambivalent and leaves room for multiple interpretations. My focus lies not in the intellectual understanding of the symbol, but in a deeper acknowledgement of underlying realities and personal meanings. For example, when one dreams about a house it may symbolize a return to the basic principles that they learnd as a child. A second aspect in my work is repetition. Only after repetition man is able to realize and understand the simplicity of a certain event.  

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purple felt and porcelain One piece of art, with more than three hundred houses, on an area of approximately 400 m². The houses in each seven by seven matrix are identical. The houses in each of the nine ‘neighbourhoods’ have the same basic house form, but are made out of different materials: wood, marble, glass, galvanized iron, purple felt, corten steel, gold leaf, and clay. Rhode put down a layer of sand on the floor of the 11-story atrium. The houses were then arranged. Two big newspaper collages, in the shape of a house, give the whole installation a space filling effect. With this the shape of the installation is rebuild. A tension occurs when move yourself around the installation. Because of the way the houses are placed and the different materials that are used, light and shadows change to whole time and give the installation a constantly different variation. The house can be seen as one shape, but at the same time as a ‘whole’ were shapes smoothly flow in to each other.
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Sandhouse-project: Stillness, Movement and Transience
A giant art project with a lifespan of 12 hours Everything in life is ephemeral, everything comes and goes, and nothing stays as it is. We live in a world where everything changes all the time, there’s nothing we can keep. It’s a process we come across daily, sometimes we are very well aware of this, and sometimes it passes by without us knowing it. By creating a huge and transient piece of art, Stephanie Rhode showed the process of coming and going, but at the same time movement and stillness. She demonstrated this in an easy, comprehensible and recognisable way. In 2007 Stephanie built three thousand houses of sand on the beach of Langeoog | Germany, 2008 in Katwijk aan Zee | The Netherlands and 2014 in Xiamen/ China. Then the tide came in and took, one by one, all the houses, until there was nothing left but an empty beach. She wanted to find out how the people react to the phenomena of transience when shown and experienced through a piece of art. Everything in life is transient, nothing is the way it was, and everything is constantly moving. Artistic representation and the underlying message are actively experienced. Transience becomes visible in striking and unforgettable way.
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Installatie with 490 white kittded houses '490 Knitted houses, lest we forget' For two days the Market place of Gunzenhausen (Germany) was the centre of an installation by the Artist Stephanie Rhode from Amsterdam. 490 houses with knitted facades were set up. In a very special way, they brought back to life the memory of members of the Jewish community throughout time. Rhode mobilised numerous people from Germany and other countries to knit covers to form facades for simple miniature houses. These were set up at the market place as part of an intense operation, that lasted two days, to bring back to memory the homes of former Jewish citizens to participants and visitors alike. The installation, the knitting people as well as phrases from conversations between the artist and participants during and after the exhibition were documented and projected against a screen in pictures and quotations. The installation continues to have an effect, even after the knitted houses were taken down, because every house rested on a purposely positioned piece of gold leaf on the ground of the market place. As the remaining outlines of gold leaf, reminiscent of the houses, are wearing away in the everyday life of the market place, we are reminded that something used to be there.
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Why would you always show art in a gallery or museum? A tree is rooted strong en powerful in a beautifully set up garden, far away from all culture organizations. A decorated tree is nothing new; think about the Christmas tree, but houses of porcelain in an oak, in the middle of the summer in a botanical garden is something unusual. This asks the audience to think about this totally new situation.
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