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Gabber Nation - Fryslân, 2016

Installation with Boris Postma

GermanEnglish

The collective project GABBER NATION focuses on gabber culture in Friesland and on the specifics of sub-culture in the rural area. While the Heipalen sound inspired the industrial gabber bass drum of Rotterdam, the village Beetsterzwaag is a quiet and peaceful place. How does the urge for destruction, that every young soul feels, find its way in an environment like this?

For the duration of her residency at Kunsthuis SYB, Henrike Naumann, together with six German, Danish and Dutch artists, delves into the gabber culture of Friesland and Germany. What does it look like now and what preceded it? They visit historic places, music events and other gatherings whilst creating an archive of photos, videos and paraphernalia.

With Merle Vorwald, Henrike Naumann analyses the 'dome' of Thialf in Heerenveen and the legendary Thunderdome from the film Mad Max 3. With musician Bastian Hagedorn, Naumann works on the Bass Drum Archive, an audio archive which stores the bass lines of gabber tracks. With Johannes Bütter, Naumann explores the sub-culture in the rural area and the explosive power of youth. The Dutch photographer Boris Postma reminisces with Naumann on his own gabber youth and looks for traces of the apocalyptic. In collaboration with Dutch artist Tea Palmelund the artists produce a Gabber fan-zine publication, accompanying the show. Together with artist Ekaterina Burlyga, Naumann will finally dive into the aestetics of national flags and organize a gabber street parade in the peaceful Hoofdstraat of Beetsterzwaag.

The collective project GABBER NATION focuses on gabber culture in Friesland and on the specifics of sub-culture in the rural area. While the Heipalen sound inspired the industrial gabber bass drum of Rotterdam, the village Beetsterzwaag is a quiet and peaceful place. How does the urge for destruction, that every young soul feels, find its way in an environment like this?

For the duration of her residency at Kunsthuis SYB, Henrike Naumann, together with six German, Danish and Dutch artists, delves into the gabber culture of Friesland and Germany. What does it look like now and what preceded it? They visit historic places, music events and other gatherings whilst creating an archive of photos, videos and paraphernalia.

With Merle Vorwald, Henrike Naumann analyses the 'dome' of Thialf in Heerenveen and the legendary Thunderdome from the film Mad Max 3. With musician Bastian Hagedorn, Naumann works on the Bass Drum Archive, an audio archive which stores the bass lines of gabber tracks. With Johannes Bütter, Naumann explores the sub-culture in the rural area and the explosive power of youth. The Dutch photographer Boris Postma reminisces with Naumann on his own gabber youth and looks for traces of the apocalyptic. In collaboration with Dutch artist Tea Palmelund the artists produce a Gabber fan-zine publication, accompanying the show. Together with artist Ekaterina Burlyga, Naumann will finally dive into the aestetics of national flags and organize a gabber street parade in the peaceful Hoofdstraat of Beetsterzwaag.

Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, polaroid detail shots
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, polaroid detail shots
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, polaroid detail shots
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, polaroid detail shots
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, polaroid detail shots
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, polaroid detail shots
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, polaroid detail shots
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, polaroid detail shots
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, polaroid detail shots
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, polaroid detail shots
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, polaroid detail shots
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, polaroid detail shots
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, polaroid detail shots
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, polaroid detail shots
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, polaroid detail shots
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, installation view, Kunsthuis SYD
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, installation view, Kunsthuis SYD
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, installation view, Kunsthuis SYD
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, installation view, Kunsthuis SYD
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, installation view, Kunsthuis SYD
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, installation view, Kunsthuis SYD
Henrike Naumann, Gabber Nation - Fryslân, 2016, mixed media installation, furniture and objects, installation view, Kunsthuis SYD
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Henrike Naumann

Henrike Naumann was born 1984 in Zwickau (GDR). Growing up in Eastern Germany, Naumann experienced extreme-right ideology as a predominant youth culture in the 90s. Her work reflects on the history of the right-wing terrorism in Germany as well as on today‘s broad acceptance of racist ideas. She looks at the mechanisms of radicalization and how they are linked to personal experience and youth culture. Nauman explores the friction of contrary political opinion through the ambivalence of personal aesthetic taste. In her immersive installations she combines video and sound with scenographic spaces. In recent years she widened her focus to the global connectivity of youth cultures and the reversion of cultural othering. Notable exhibitions include the ’3rd. Herbstsalon’ at Maxim Gorki Theatre Berlin, ’The Museum of Trance’ at the 4th Ghetto Biennale in Port-au-Prince (Haiti), ’Intercouture’ at the Musée d’Art Contemporain et Multimédias de l’Echangeur in Kinshasa (Democratic Republic of Congo) and ‚Aufbau Ost‘ at Galerie Wedding, Berlin. Henrike Naumann lives and works in Berlin.



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