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  1. The invisible made visible. For Sanne Vaassen that means she has to invent every time a precise method that matches the unorthodoxy of her concepts. Whether she copies her own birthmarks to one other by means of a tattoo or she collected snails to eat holes through 'The book of all anthems'. The music scores on every page got peep-through holes to the scores on the other pages: the performance of this new score would produce a random unity out of this mash-up. The work investigates constitutions that define identity and culture by putting this to the test. The methodology, preliminary to- and during the art production, embodies a strong performative quality. As a researcher Vaassen creates a complexity that questions a wide variety of biases, addressed by the versatile and layered oeuvre. As an artist she embraces her audience with a generous and poetical vocabulary and engages the dialogue in an intimate and personal way. 'Thinking' and 'feeling' are trusted partners in the perception of Sanne Vaassen's strong statements. The jury was deeply impressed by the sharp and personal observations of the human condition, the authenticity of the ideas and the powerful yet sensitive imagination.


    From the jury report of the Parkstad Limburg Award 2016, text: Paul Devens

  2. By exanimating, analysing and notating natural phenomena Sanne Vaassen questions the man-made culture. For example with the work X that shows seemingly innocent and aesthetic images of flowers that have been subject to cultural appropriation, colonialism, climate change, biodiversity, sustainable landscape management and the determination and legislation for indigenous or exotic species for centuries. Petals of different flowers are put into slide frames and projected at varied sizes. The deciduous leaves of rose, carnation, tulip, marigold and portulak are enlarged exposed and screened, in both the sense of inspection and cinema. Every leaf projection creates an image on the wall, a comprehensive story at once hidden and revealed.


    In addition, Vaassen plays through a constructed composition of coincidence and control with established symbols and traditions that we use. With the work Flags she questions the use of symbols in politics. She reduced official flags of countries into loose threads, which are then delivered to an experienced weaver from the concerned country. This weaver on his turn weaves a new tapestry from it, according to his own personal method.


    Within her work the formation of identity plays a key role. For Cartography she numbered, photographed and archived all of her birthmarks. From this archive you can choose one of her marks and get them as a tattoo on your own body. Every mark will be tattooed only once by a professional tattoo-artist. By spreading the birthmarks across multiple bodies she questions the concept of identity and the individuality of a body.

  3. De Witte Raaf, Sanne Vaassen 00.00.0000 - Edo Dijksterhuis

    Metropolis M, Vijf jaar later -Sanneke Huisman (NL)

    Metropolis M, Alternatieve feiten, -Vincent van Velsen (NL)

    H(Art) Magazine, Sanne Vaassen in KRIEG, Hasselt, -Christine Veugen (NL)

    De Volkskrant, Moedervlekjes en vaag vlees, -Jeanne Prisser (NL)

    De Limburger, Kunstwerken in de Huiskamer, -Casper Cillekens (NL)

    When All Seemingly Stands Still, -Amanda Abi Khalil (ENG)


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