Ties Ten Bosch, Netherlands / Germany
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Ties Ten Bosch (1977, NL) is a Dutch artist based in Berlin. His work can be defined as meta-art. Ties ten Bosch uses various media to investigate the role of contemporary art in today’s society and thereby questions his position as an artist, as well as the position of the viewer, which is central to every image. Ties subtracts elements that reflect on his own position as an artist and the state of the arts in general. He collects and then filters his material in order to make them into calm and serene images, although the notion of the disturbance of the previous chaos is still present.
Ties ten Bosch is represented by the Frank Taal Gallery in Rotterdam and Lage Egal in Berlin. He participated in numerous group exhibitions and projects, including numerous solo shows in Germany and Netherlands. |
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Besides working as an individual visual artist he is and has been involved in several artistic collaborations, such as: Volksrekorders, hOUTSKOOL (an analog art-zine), the B.a.d-foundation and currently with If Paradise Is Half As Nice.
"My praxis is characterized by a provocative surrealistic approach of actual everyday traces that we leave behind. I integrate these banal tracks with social, political and current issues as a paradox and thereby alienate them from their everyday life. This often leads to works that result in a unceasing questioning of viewing habits and of sculpture itself. With these works I create an alternative storyline of reality itself. It makes the viewer question everything that is part of our own presence. Although I try to grasp and control a certain process and method of working, I try to avoid to understand the outcome of my own work. I truly believe that in this way, the viewer has more chance to understand the work in his or her own way.
In my practice, the subject is the starting point. This results in a wide variety of approaches, different mediums I work with and new aesthetic solutions to communicate my ideas. This is why on first view each series of works might look like they are made by different artists. But once you start to understand the way I look at the world, things will become obvious and clear.
A good work of art makes you look, and keep on looking. Until you have found an answer to its enigma, one must persist in looking. That is its primary function.
My work often can be read in the form of ‘what-if’ questions: What if you spend a month in an empty water basin? (Pavilion, 2020), what if you start recycling a found medical archive in an abandoned factory? (Archive afterlife, 2019), what if you witness a scene that tells an unknown story (some other memory, 2019). I tend to tell stories with an open end and invite the viewer to fill in the rest. Therefore, invitation and collaboration are a core part of my practice. The art creates an ongoing conversation between me, my work and the viewer."
"My praxis is characterized by a provocative surrealistic approach of actual everyday traces that we leave behind. I integrate these banal tracks with social, political and current issues as a paradox and thereby alienate them from their everyday life. This often leads to works that result in a unceasing questioning of viewing habits and of sculpture itself. With these works I create an alternative storyline of reality itself. It makes the viewer question everything that is part of our own presence. Although I try to grasp and control a certain process and method of working, I try to avoid to understand the outcome of my own work. I truly believe that in this way, the viewer has more chance to understand the work in his or her own way.
In my practice, the subject is the starting point. This results in a wide variety of approaches, different mediums I work with and new aesthetic solutions to communicate my ideas. This is why on first view each series of works might look like they are made by different artists. But once you start to understand the way I look at the world, things will become obvious and clear.
A good work of art makes you look, and keep on looking. Until you have found an answer to its enigma, one must persist in looking. That is its primary function.
My work often can be read in the form of ‘what-if’ questions: What if you spend a month in an empty water basin? (Pavilion, 2020), what if you start recycling a found medical archive in an abandoned factory? (Archive afterlife, 2019), what if you witness a scene that tells an unknown story (some other memory, 2019). I tend to tell stories with an open end and invite the viewer to fill in the rest. Therefore, invitation and collaboration are a core part of my practice. The art creates an ongoing conversation between me, my work and the viewer."