Rob Voerman

Rob Voerman

Born in 1966, Lives and works in Arnhem (NL)

Installation 'The Exchange', at Sonsbeek 2016: TransACTION. Aluminum, coloured glass, plexiglass. Installation 'The Exchange', at Sonsbeek 2016: TransACTION. Aluminum, coloured glass, plexiglass. Interior view of installation 'The Exchange', at Sonsbeek 2016: TransACTION. Aluminum, coloured glass, plexiglass. Photo: Maurice Wijninga. Faculty, Year: 2015, 15 x 4 x 4 meters, cardboard, glass, wood, plexiglass, epoxy and vices.
A site-specific work made for the Mattress factory Art Museum in Pittsburgh, USA.  The work has been inspirend by one of Pittsburgh?s most welknown landmarks ?Catherdral of the Learning?.
Faculty, Year: 2015, 15 x 4 x 4 meters, cardboard, glass, wood, plexiglass, epoxy and vices.
A site-specific work made for the Mattress factory Art Museum in Pittsburgh, USA.  The work has been inspirend by one of Pittsburgh?s most welknown landmarks ?Catherdral of the Learning?.
Faculty, Year: 2015, 15 x 4 x 4 meters, cardboard, glass, wood, plexiglass, epoxy and vices.
A site-specific work made for the Mattress factory Art Museum in Pittsburgh, USA.  The work has been inspirend by one of Pittsburgh?s most welknown landmarks ?Catherdral of the Learning?.
Faculty, Year: 2015, 15 x 4 x 4 meters, cardboard, glass, wood, plexiglass, epoxy and vices.
A site-specific work made for the Mattress factory Art Museum in Pittsburgh, USA.  The work has been inspirend by one of Pittsburgh?s most welknown landmarks ?Catherdral of the Learning?.
Vault 2015, 2015, h 177cm, l 205cm, w 130cm, epoxy-re-enforced cardboard, glass, wood and epoxy-based high-quality floorpaint.?The work has some architectural references to both Chistian- and Islamic architecture. The appearance also refers to improvised shelters, And it does indeed refer to a certain extend to the worldwide tensions and dynamics between religions, migration and identity. Vault 2015, 2015, h 177cm, l 205cm, w 130cm, epoxy-re-enforced cardboard, glass, wood and epoxy-based high-quality floorpaint.?The work has some architectural references to both Chistian- and Islamic architecture. The appearance also refers to improvised shelters, And it does indeed refer to a certain extend to the worldwide tensions and dynamics between religions, migration and identity. Vault 2015, 2015, h 177cm, l 205cm, w 130cm, epoxy-re-enforced cardboard, glass, wood and epoxy-based high-quality floorpaint.?The work has some architectural references to both Chistian- and Islamic architecture. The appearance also refers to improvised shelters, And it does indeed refer to a certain extend to the worldwide tensions and dynamics between religions, migration and identity. Hidden Equity, 2015. 380 x 205 x 43cm?Steel, glass, epoyy-re-enforced cardboard, baseball-bats a.o.m.??The work is part of a new utopical body of work. A utopia which deals with various issues.?A utopia that is based for a part on reduction.?Large towers of burial-chambers, areas cleared from any human activities, new living-communities and even a new financial system will become part of this. This wall-piece is part of this utopia iand refers to the old financial system that is replaced by one that is based on ecological resources.?Many new works, photoworks, prints, installations and sculptures will follow that visualize and become part of the development of this imaginary world.
Hidden Equity, 2015. 380 x 205 x 43cm?Steel, glass, epoyy-re-enforced cardboard, baseball-bats a.o.m.??The work is part of a new utopical body of work. A utopia which deals with various issues.?A utopia that is based for a part on reduction.?Large towers of burial-chambers, areas cleared from any human activities, new living-communities and even a new financial system will become part of this. This wall-piece is part of this utopia iand refers to the old financial system that is replaced by one that is based on ecological resources.?Many new works, photoworks, prints, installations and sculptures will follow that visualize and become part of the development of this imaginary world.
Cathedral of the Learning, Etching and watercolor on paper, 30 x 40 cm?Edition of 20 + 1AP Cathedral of the Learning, Etching and watercolor on paper, 30 x 40 cm?Edition of 20 + 1AP Shenzhen Entropy
2015, 13 x 5 x 3 meters, Cardboard, wood, glass, plexiglass, a.o.m.

In this installation Voerman wants to shine a light on the millions of migrantworkers in the Shenzhen region. These millions of workers, how can we let them feel at home. Can cityplanning perhaps learn something from the intimacy and the slowly evolving countryside and their villages? These workers and there talents and dreams and their creative potential will play a prominent role in Voerman?s installation and they will be involved in the installation with workshops, performances and presentations.
The inside of the cardboard pavillion with colored windows and filtered light recalls the melancholic athmosphere of memories of the millions of migrant-workers in Shenzhen of there small villages where they came from. The work also pleads for an other mentality regarding urban planning which comes very close to the ideas and thoughts in Rowe and Koetter?s book Collage City. Shenzhen Entropy
2015, 13 x 5 x 3 meters, Cardboard, wood, glass, plexiglass, a.o.m.

In this installation Voerman wants to shine a light on the millions of migrantworkers in the Shenzhen region. These millions of workers, how can we let them feel at home. Can cityplanning perhaps learn something from the intimacy and the slowly evolving countryside and their villages? These workers and there talents and dreams and their creative potential will play a prominent role in Voerman?s installation and they will be involved in the installation with workshops, performances and presentations.
The inside of the cardboard pavillion with colored windows and filtered light recalls the melancholic athmosphere of memories of the millions of migrant-workers in Shenzhen of there small villages where they came from. The work also pleads for an other mentality regarding urban planning which comes very close to the ideas and thoughts in Rowe and Koetter?s book Collage City. Shenzhen Entropy
2015, 13 x 5 x 3 meters, Cardboard, wood, glass, plexiglass, a.o.m.

In this installation Voerman wants to shine a light on the millions of migrantworkers in the Shenzhen region. These millions of workers, how can we let them feel at home. Can cityplanning perhaps learn something from the intimacy and the slowly evolving countryside and their villages? These workers and there talents and dreams and their creative potential will play a prominent role in Voerman?s installation and they will be involved in the installation with workshops, performances and presentations.
The inside of the cardboard pavillion with colored windows and filtered light recalls the melancholic athmosphere of memories of the millions of migrant-workers in Shenzhen of there small villages where they came from. The work also pleads for an other mentality regarding urban planning which comes very close to the ideas and thoughts in Rowe and Koetter?s book Collage City. Shenzhen Entropy
2015, 13 x 5 x 3 meters, Cardboard, wood, glass, plexiglass, a.o.m.

In this installation Voerman wants to shine a light on the millions of migrantworkers in the Shenzhen region. These millions of workers, how can we let them feel at home. Can cityplanning perhaps learn something from the intimacy and the slowly evolving countryside and their villages? These workers and there talents and dreams and their creative potential will play a prominent role in Voerman?s installation and they will be involved in the installation with workshops, performances and presentations.
The inside of the cardboard pavillion with colored windows and filtered light recalls the melancholic athmosphere of memories of the millions of migrant-workers in Shenzhen of there small villages where they came from. The work also pleads for an other mentality regarding urban planning which comes very close to the ideas and thoughts in Rowe and Koetter?s book Collage City. 'Unité', 2014, archival pigment print, 99,5 x 155 cm / 35 x 53 cm 'Rietveld House', 2014, wood, epoxy, glass, plexiglass, steel and paint.
113 x 89 x 183 cm. 'Into the Grid', 2015, alluminium, glass, plexiglass and wood. 10 x 10 x 7 meters. 
Large temporary site-specific installation, build in a shoppingmall in Presikhaaf-neighbourhood in Arnhem, Netherlands 'Into the Grid', 2015, alluminium, glass, plexiglass and wood. 10 x 10 x 7 meters. 
Large temporary site-specific installation, build in a shoppingmall in Presikhaaf-neighbourhood in Arnhem, Netherlands 'Dawn of a New Century', 2014, bronze and oil-paint. 20 x 30 x 24 cm. 
'The Fifth Season', 2014, 500 x 600 x 300 cm, plexiglass, glass, wood, chandelier, a. o. 
An ongoing art project. Lectures, debates, dinners, are organized inside the piece.
The work will be created on different locations in and outside art spaces. Image taken at Upstream Gallery, winter 2014.

Based on Mies van der Rohe's "Four Seasons Restaurant". 'The Fifth Season' (view from the outside), 2014, 500 x 600 x 300 cm, plexiglass, glass, wood, chandelier, a. o. 
An ongoing art project. Lectures, debates, dinners, are organized inside the piece.
The work will be created on different locations in and outside art spaces. Image taken at Upstream Gallery, winter 2014.

Based on Mies van der Rohe's "Four Seasons Restaurant". 'The Fifth Season', 2014, 500 x 600 x 300 cm, plexiglass, glass, wood, chandelier, a. o. 
An ongoing art project.
The work will be created on different locations in and outside art spaces. Image taken at Upstream Gallery, winter 2014.

Based on Mies van der Rohe's "Four Seasons Restaurant". 'Fifth Season', 2013, watercolor and pencil on paper, 70 x 100 cm. Traverse #1, 2013, Bronze and glass, 40 x 38 x 24cm 'Aftermath', 2014, c-print, 99,5 x 155 cm (edition of 5 + 1AP) and 35 x 53 cm (edition of 7 + 1 AP) 'Belief', 2014, c-print, 105 x 155cm / 36 x 53 cm. 'Incinerator', 2014, 48 x 46 x 48 cm, bronze and glass. 'White structure with construction within #1', 2014, 25 x 22 x 33 cm, bronze, oil paint and textile. 'Unité d'Habitation,  2011, wood, glass and cardboard, 200 x 174 x 53 'Unité d'Habitation,  2011, wood, glass and cardboard, 200 x 174 x 53 'Unité d'Habitation (detail)',  2011, wood, glass and cardboard, 200 x 174 x 53 Wallsculpture #1, 2013, Bronze and glass, 70 x 45 x 20cm, unique piece 'Inverse Modernity', 2014, watercolour and pencil on paper, 102 x 117cm
'Rietveld House #2', 2011, bronze and oil paint, 49 x 38 x 22 cm. 'A Permeable Body of Solitude', 2012, cardboard, wood, glass, plexie-glass, car-part and epoxy-resin. 350 x 300 x 400 cm. 'A Permeable Body of Solitude', 2012, cardboard, wood, glass, car-parts and epoxy-resin, 250 x 300 x 400 cm. 'A Permeable Body of Solitude (inside)', 2012, cardboard, wood, glass, plexie-glass, car-part and epoxy-resin. 350 x 300 x 400 cm. 'A Permeable Body of Solitude' (view from the installation Tarnung #3) at the exhibition The Fifth Season in Düsseldorf (sept. 2013), 2012, cardboard, wood, glass, car-parts and epoxy-resin, 250 x 300 x 400 cm. 'Unité d'Habitation #2', 2014, wood, epoxy, cardboard, glass and paint. 116 x 101 x 50 cm. 'Unite #3', 2012, watercolor and pencil on paper, 52 x 71 cm. 'Raft', 2012, zinc and cardboard, 21,5 x 44 x 11 cm. Photo: Gert Jan van Rooij. 'Moonshine', 2006, wood, glass, liquor, a.o., 230 x 170 x 130 cm. 

This work functions as a bar and smoking-area. 'Moonshine', 2006, wood, glass, liquor, a.o., 230 x 170 x 130 cm. 

This work functions as a bar and smoking-area. 'Pressure', 2012, silkscreen, pencil and soot on paper, 118 x 198 cm. (edition of 8 + 1 AP) 'The Archive', 2012, watercolour and pencil on paper, 96 x 47 cm. 'Dawn of a New Century', 2012, cardboard, wood, glass, plexie-glass and epoxy-resin. 250 x 150 x 220 cm Inside of 'Dawn of a Century', 2012, Installation at the Armory Show, New York. "Growth Ability", Wall piece for the entrance hall of the Ministery of Economy, Agriculture and Innovation, The Hague (NL), 2013, aluminum and glass, 650 x 550 cm. "Growth Ability", Wall piece for the entrance hall of the Ministery of Economy, Agriculture and Innovation, The Hague (NL), 2013, aluminum and glass, 650 x 550 cm. (detail) 'Den', 2012, watercolor on paper, 39 x 25 cm. 'Traverse', 2011, watercolor and pencil on paper, 71 x 51 cm. 'Subsiding Landscape', 2012, watercolor on paper, 39 x 25 cm. 'Thistlegarden', 2010, silkscreen, watercolor and pencil on paper, 198 x 220 cm. Inside of 'Untitled', 2011, cardboard, glass, wood and plastic, 400 x 400 x 150 cm. Photo: Gert Jan van Rooij. Inside of 'Untitled', 2011, cardboard, glass, wood and plastic, 400 x 400 x 150 cm. Photo: Gert Jan van Rooij. 'No Title', 2004, Linoleum print and silkscreen on paper, 220 x 117 cm. Collection of MoMA, New York (NY) 'Worldviews', 2003, linoleum print, silkscreen and watercolor on paper, 175 x 199 cm, edition of 5. Untitled, 2000, Linoleumprint and soot on paper, 74 x 74cm, Ed. 20 + 1AP 'Mega Farm', 2004, unique piece, 235 x 135 and 130 x 170 cm. 
Model of a pig farm in combination with museum, elderly-home, funeral-home, restaurant and apartments. 'Mega Farm', 2004, unique piece, 235 x 135 and 130 x 170 cm. 
Model of a pig farm in combination with museum, elderly-home, funeral-home, restaurant and apartments. 'Extra City', 2010, watercolor and pencil on paper, 45 x 60 cm. 'Lobby', 2010, watercolor and pencil on paper, 60 x 45 cm. 'Charity', 2010, watercolor and pencil on paper, 60 x 45 cm. 'Tarnung #2', 2008, wood, plexiglass, a.o.m., at the exhibition "Human Comfort" at the Cobra Museum in 2010 'The Estate of Barbara and Richard D. Gardner', 2009, wood, glass, polycarbonate, tube-light, jewelry and clothing, 144 x 195 x 42 cm. 'The Estate of Barbara and Richard D. Gardner', 2009, wood, glass, polycarbonate, tube-light, jewelry and clothing, 144 x 195 x 42 cm. (detail) 'Host #3', 2009, wood, glass and polycarbonate, 66 x 96 x 27 cm. Photo: Gert Jan van Rooij 'Tarnung #2', 2008, wood, glass, plexiglass a.o.m., 600 x 600 x 300 cm. Installation at Generali Foundation Vienna. 'Tarnung 2', 2008, wood, plexiglass, glass, a.o.m., 600 x 600 x 300 cm. Installation at Generali Foundation Vienna. Inside of 'Tarnung 2', 2008, wood, plexiglass, glass a.o.m., 600 x 600 x 300 cm. 'Epicentre',2007, linoleum print, silkscreen and watercolor on paper. 180 x 201 cm. 'Annex #4', 2006. Car, steel, wood, polycarbonate, plexiglass, stained glass, vice, 500 x 235 x 270 cm. Installed in front of the Architectural Association, London. 'Annex #4', 2006 (inside), car, steel, wood, stained glass, polycarbonate, 500 x 270 x 235 cm. 'Outpost #2', 2007, wood, plexiglass, glass. Unique piece, 220 x 82 x 75 cm. 'Falling Water' 2006, etching and watercolor on paper, 30 x 30 cm, edition of 15. 'Real Estate', 2006, plexiglass, cardboard, a.o.m. 'Real Estate', 2006, plexiglass, cardboard, a.o.m. 'Host', 2008, wood, aluminum, hardened and layered glass, a.o.m. 380 x 220 x 260 cm. 'Furnace', 2008, watercolor, pencil and root on paper. 190 x 114 cm 'New Heights', 2008, watercolor, pencil and root on paper, 98,5 x 70 cm. 'Annex #1', 2005, wood, glass, blackboard and a piece of chalk. 180 x 70 x65 cm. 'Annex #2', 2005, linoleum print and silkscreen on paper, 66 x 94 cm, edition of 7 'Dawn', 2006, linoleum and silkscreen print on paper, 149 x 216 cm, edition of 5. 'Midnight Breeze Passing', 2004, linoleum print and silkscreen on paper, 110 x 150 cm, edition of 4. 'Bad Habits', 2004, Installation at Cell Project Space London, 550 x 420 x 210 cm. 'Printcenter', 2001, wood, venetian blinds and matras. 145 x 150 x 420 cm.
<span class='firstName'>Rob</span> <span class='lastName'>Voerman</span>
Rob Voerman
  • Biography
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Biography

Rob Voerman is often inspired by modernist architecture and the utopian ideas about society on which they are based. Voerman’s works are defined by a dialogue between the forms of old archaic appearances of the farmers-life and the modern technically developed society. The works question the way in which societies function and might function in the future. Often it is possible for the viewer to interact with the works; they can enter it and sleep, work and drink inside the installations.

Rob Voerman lives in Arnhem. He studied at the CABK in Kampen (nowadays called ArtEZ Art & Design) and Vestlandets Kunstakademi, Bergen, Norway. In 2001 Voerman applied to join Worldviews, an artist in residence program in New York. The program used studios at the top of the World Trade Center towers, and was cancelled after the attacks of September 11th. In the following year Voerman made the work Worldviews which referred to 9/11 and the idea of this residency that never happened. In 2012 and 2013 Voerman worked at the ISCP in New York. Solo exhibitions include ‘The Fifth Season’ at Upstream Gallery (2014) ‘Tarnung. Biomorph Skulptures and Drawings’ at WeltkunstZimmer, Dusseldorf (2013), ‘Disturbia’ at CODA Museum, Apeldoorn (2012) and ‘Human Comfort’ at Cobra Museum, Amstelveen (2010). His works are represented in many private and public collections such as the Museum of Modern Art, New York, UCLA Hammer Museum, Los Angeles, Museum Valkhof, Nijmegen, Deutsche Bank, KKR Office collection, New York, Speyer Family Collection New York, Generali Foundation. In 2013 he was commissioned to make a large wall-piece for the entrance hall of the Dutch Ministery of Economy, the Hague.

Artist website

Exhibitions

Bye Bye De Stijl

16 Dec '17 - 4 Mar '18

What Next: Utopia?

13 May - 9 Jul '17

Entropic Empire

1 Apr - 27 May '17

Architecture as Metaphor

9 Mar - 21 Apr '17

INKT

24 Sep - 16 Oct '16

(In)constancy of space

26 Aug - 2 Oct '16

transACTION at Sonsbeek '16

4 Jun - 18 Sep '16

TRANSFORMER

3 Oct - 14 Nov '15

Factory Installed

18 Sep '15 - 31 May '16

Into the Grid

12 Feb - 18 Apr '15

1st Yango Biennale

21 Nov - 19 Dec '14

The Fifth Season

18 Jan - 1 Mar '14

A Decade Upstream

30 Nov - 19 Dec '13

Tarnung

7 Sep - 19 Oct '13

Disturbia

21 Apr - 23 Sep '12

Second Modernity

2 Jun - 14 Jul '12

After the Goldrush

8 Jan - 18 Feb '11

Human Comfort

30 Jan - 30 May '10

Apocalyptic Landscapes

18 Oct - 15 Nov '08

Tarnung

13 Oct - 9 Dec '07

Neighbours

5 May - 30 Jun '07

Rob Voerman and David Haines

16 Apr - 16 May '05

Bricolour

7 Jul - 17 Oct '04

Downloads

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