Lisa van Casand, b.1990, based in The Hague

 

Contact me at:
studio@lisavancasand.nl

EDUCATION

2019 (Honours Programme)
Arts/Science: Academy Honours Programme for Young Artists and Scientists 

2012-2017
Bachelor of Arts, Royal Academy of arts (KABK), The Hague

2015
Internship Anoek Steketee

2015
Internship Gert Jan Kocken

2014
Elective Webdesign

Royal Academy of Art, The Hague

2009-2010
Propaedeutic diploma, University of the Arts (HKU), Utrecht

2009-2010
Pre-university school, C&M with Biology as elective, Pleincollege Sint Joris, Eindhoven

AWARDS / GRANTS / NOMINATIONS

2017 (Nomination)
FOTOMUSEUM WINTERTHUR Plat(t)form 2018

 

2017 (Winner – Honorary mention)
LIFE FRAMER, Life Framer edition IV – OPEN CALL, judged by Katerina Stathopoulou, curator at the Museum of Modern Art (MoMA), New York.

2017 (award)
HEDEN
Start Award
The award includes purchase of the graduating artist’s work for the Heden Collection, an exhibition at Heden and one year business guidance for artists, including presentation at a Dutch art fair and the network of Heden. Next to that there is a work- and promotionbudget.

 

2017 (department prize)
Royal Academy of Arts department prize winner of the Bachelor of Photography

2017 (grant)
MATTER (Nutshuis, The Hague & RecycleArt, Brussels)
The Matter project aims to demonstrate and stimulate the depth and diffusion of exploratory photography. Four professional photographers were given supervision and a work- and presentationbudget.

2014 (academy prize)
BREDAPHOTO, Students from Dutch and Belgian art academies participate in a year long procedure of creating a project that fits the theme of the festival. 12 were chosen to exhibit at the international photofestival amongst the professionals.

 

SELECTED EXHIBITIONS / LECTURES

2019 (group exhibition)
march – april
CCHA, Festival van de Controle, Hasselt
Curated by Sarah van marcke en Thierry Vandenbussche

2019 (lecture)
11 february
SPUI25, Onbegrensd: Intelligent gedrag bij planten, Amsterdam

2018 (group exhibition)
1 december – 31 January 
Moon Gallery, 
Space Expo, Noordwijk

2018 (group exhibition)
16 november – 1 december
Moon Gallery, 
The European Space Research and Technology Centre (ESTEC), Noordwijk 

2018 (radio interview)
september
Stedelijk Museum, Ja ja ja, nee nee nee, Amsterdam

2018 (book launch presentation)
september
Stedelijk Museum, Stedelijk Book Club Print! Press! Publish!, Amsterdam

2018 (solo exhibition)
11 july – 02 september
OpZicht, Stroom, The Hague

2018 (artist talk)
8 june – 10 june
Galerie Heden, Hoogtij #53/Holaa!Festivall, The Hague

2018 (solo exhibition)
26 may t/m 07 july

Galerie Heden, The Mushroom Club, The Hague

2018 (group exhibition)
17 april – 22 april
Salone de Mobile, My Practice My Politics, Milan
Curated By Agata Jaworska and Saskia van Stein

2018 (group exhibition)
04 april – 08 april
KunstRAI, Galerie Heden, Amsterdam

2018 (group exhibition)
29 december – 30 december
NATO-Caves, The Mushroom Club, Maastricht

2017 (group exhibition)
27 december – 30 december
This Art Fair, Galerie Heden, Amsterdam

2017 (group exhibition)
12 october – 22 october
Fotofestival Schiedam, Blauwdruk, Schiedam

2017 (lecture)
04 november
Recyclart, EXTRA FORT lisa van Casand/Eva Donckers/Ksenia Galiaeva/Arjan de Nooy, Brussels 

2017 (group exhibition)
4 october – 8 october
Art The Hague, Galerie Heden, The Hague

2017 (artist talk)
29 september
Het Nutshuis, Hoogtij #50, The Hague

2017 (group exhibition)
7 september – 21 october
Het Nutshuis, MATTER, The Hague

2017 (group exhibition)
30 june – 06 june
Royal Academy of Art, Graduation Festival, The Hague

2016 (group exhibition)
15 november – 17 january
Art-Deli, Nacht, Amsterdam

2015 (group exhibition)
17 october t/m 26 october
Dutch Design Week, Limbo, Eindhoven 

2015 (group exhibition)
18 october t/m 20 october
Unseen, Art-Deli meets Unseen, Amsterdam 

2015 (group exhibition)
04 september – 04 october
Temporary Art Centre, Zomerzucht, Eindhoven

2014 (group exhibition)
11 september – 26 october
BredaPhoto, Songs From the Heart, group exhibition, Breda

SELECTED TEACHING / ASSIGNMENTS

2019 (Lecturer)
september
Masterclass fotografie: Onderwijsraad, The Hague

 

2019 (Lecturer)
Workshop: How to graduate in 4 days, KABK, The Hague

 

2019
De Correspondent, Lex Bohlmeijer Live Podcast, Theater aan Spui

2018 (image story)
De Correspondent,’Te land, ter zee en in de lucht: polyester in je kleding verandert onze planeet in plasticsoup’

 

2017 (imagestory)
De Correspondent, ‘Het hele leven bestaat uit stress (en onze genen zijn niet up to date)’

SELECTED PUBLICATIONS

2017 (interview)
Life Framer, ‘Beyond the Visible Spectrum’

2017 (featured story)
Mister Motley, ‘Graduation special, Lisa van Casand’

2017 (interview)
See all this kunstmagazine, No. 6, zomer 2017, ‘Vijf veelbelovende kunststudenten’

2017 (interview)
British Journal of Photography, ‘#BJP 7860: Ones to Watch’

2016 (interview)
Vice x New Dawn, ‘Lisa van Casand fotografeert intelligente
planten en intrigerende mensen’

2015 (featured story)
Froot, ‘Nieuwe hollandse meesters’

 

2014 (featured story)
Catalog, BredaPhoto, ‘Songs from the heart’

 

ABOUT

Written by Sophie Wright
About The Mushroom Club

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For The Mushroom Club, Lisa van Casand focused on a Cold War-era former Nato HQ on the Dutch-Belgian border, from which all official documentation had been destroyed.

For Lisa van Casand, photography provides carte blanche to investigate places and people she would otherwise not have access. Her projects often revolve around waarheidsvinding, a peculiarly Dutch term best – if imprecisely – translated as ‘truth-finding’, an interest she attributes to her upbringing.

“I grew up with people around me that had quite a variety of strong beliefs,” says the 26-year-old from Eindhoven. “Which is not necessarily a bad thing in itself but it did confuse me at a young age – how people could believe so strongly in opposite things?”

Though interested in the idea of photography as evidence and document, it was the fallacy of the tools we use to order reality, and the limitations of seeing, that she often reflects on in her research-led projects. “I am drawn to things that are shrouded in mystery. The bigger the impossibility of reaching the object of investigation, the better,”says the final-year student at the Royal Academy of Art in The Hague.

Clarity and knowledge are not the desired outcomes of her research: it’s the ambiguity of the journey that counts. The subjective act of producing and interpreting information is a red thread through all of her work, which often takes enigmatic historical events or scientific ideas as its starting point.

For The Mushroom Club, van Casand focused her attention on a Cold War-era former Nato headquarters inside a hill on the Dutch-Belgian border. All official documentation and evidence of the underground network of tunnels had been destroyed, so she set herself the task of patching together an impression of the base by interpreting the fragments of information available.

Van Casand chose not to photograph the site as it exists now, conscious that the end point would be to merely linger on what is no longer there. Instead she treated the material she gathered as “building blocks” for an imagined contemporary document that found its form across several different elements. From a 3D-reconstruction of the mountain’s golf course, to a book bringing together conflicting accounts from former employees into a seemingly cohesive narrative, her rendering of the former Nato HQ embraces the inaccuracies of documentation and the subjective vision underlying these processes.

In leaving the information inconclusive, van Casand relies on the viewer to piece together some of the puzzle. “I am searching for ways to give the viewer a more active role in viewing the work, by ensuring that the work is not complete without them,” she explains. “In this way, the final image is the mental image in the mind of the viewer.”

For her next project she plans to push the role of the viewer even further, exploring our individual responses to colour by seeing if it’s possible to create a work “that everyone will see differently”.

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June 2017 BJP, issue #7860 – Ones to Watch, The Talent Issue.

 

Written by Katerina Stathopoulou
About Fluorescent Signals
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I was immediately pulled towards Lisa’s image. It’s beautifully structured, and the vivid reds and oranges of the leaf tips are foreign and striking. It’s a tactile, physical image and my first thought was that the fiery colors were heat prints left from human touch – a comment on our heavy-handed relationship with nature. I feel like it plays with the long and familiar tradition of still life photography (and painting) of plants and flowers, but with a bold and contemporary spin.

From reading the statement, I understand that it’s the result of stressing the plant with external elements (drought, hot water, chlorine…) and then capturing the infrared energy released, normally imperceptible to the human eye. It’s a considered way of depicting that fragility – how our actions as humans can damage our environment in ways that are often invisible. Warning signs hidden and so easy to overlook. There’s a subtle irony at play too – how that damage manifests itself in something so beautiful.

It’s an experimental image, borne of investigation and process, and that’s to be admired.

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Life Framer

Interview

An insight into Lisa van Casand’s exploratory project ‘Fluorescent Signals’

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Your work Fluorescent Signals is borne of a scientific approach, with each image the result of a controlled experiment carried out by you, and the results published in graphs and technical notes. Can you describe the genesis of the project, and how this approach was developed?

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A friend told me about the reaction of plants to a stressful environment. He told me that plants always emit a fluorescence and when put under stressful conditions, this fluorescence increases. I had never heard about the term stress in relation to plants. I immediately found it a mesmerizing idea that plants actively react to their environment, but that our eyes are just not capable of seeing it.

During the third year of my studies at the Royal Academy of Art in The Hague I decided to see if it was possible to photograph this reaction. So, over the course of half a year, I collaborated with the plant scientist Vincent Jalink from PhenoVation. Our goal was to turn the technique that he uses into a full frame photographic one. As soon as we had the technique figured out, I bought dozens of plants, took them to my studio and started thinking of ways to put the plants in different stressful environments.

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With this experimental approach, was the aesthetical output for the six images clear in your mind from the start, or was that a result of investigation too? And how was the effect actually achieved? The visual cohesiveness of the series, and the rich palette of reds and oranges against the plant life, is quite powerful…

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When I started this project, I had no idea what it was going to look like, or if it was even possible to photograph the reaction. Our visible spectrum is much more limited than that of a camera, so that is why I hoped there would be a possibility. I eventually photographed the plants in a light-tight room, with specific led lighting and a lens filter. This made it possible for the camera to detect the differences in intensity of the fluorescence emitted by the plant. When I saw the first image, after having put the plants bare roots into cleaning vinegar, I was really surprised by the outcome myself! The plant looked exactly the same when I switched the lights on, but on the screen of my camera it was glowing. So, if we could see beyond our limited visible spectrum, plants would appear to us as glowing organisms, directly responsive to their environment. It made me think of how my senses (and especially their limits), my sight, my hearing, my smell, lead many of my convictions on how I perceive the world around me.

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How much research was required before embarking on the experiments? And were they simple to execute or were there challenges along the way?

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It took me quite some time (and a lot of plants) to be able to make these images. One of the hurdles was to choose the combination of the right plant with the right external stress factor. For example, spraying chlorine on a plant has a great effect; the plant immediately starts to hang. I needed an exposure time of at least 30 seconds to be able to see the fluorescence, so it took me a while to find a plant that was strong enough to stay upright, but also vulnerable enough to see the effects of the chlorine.

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With a few notable exceptions, art and science rarely mixes. Would you describe yourself as a scientist as well as an artist?

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I would not call myself a scientist. Aside from the fact that I don’t think I deserve the title, I think my approach towards the project is more an artistic one. In my projects I do use scientific language. I use photography, do experiments, dig up information, interview, interpret findings, calculate and measure; all tools invented by humans to create an understanding of the world around us. But clarity and knowledge are not the desired outcomes of my research.

I usually choose subjects that are enigmatic, like a scientific research that shakes fixed thinking patterns or an enigmatic historical event. The research into stressful behaviour in plants is linked to a larger field of research on ‘intelligent’ behaviour in plants. Plant scientist are debating new ways of understanding flora. Recent research has in many ways shown remarkably brainy behaviour in the absence of an actual brain. Some ask whether we should not broaden our perspective on what intelligence means. Others argue that even the words ‘stress’ and ‘intelligence’ should be used exclusively for human beings. So, this new research forces us to redefine terms in which we think and talk about plants. Such a subjective act of producing and interpreting information is recurrent in all my work.

What I found very interesting when showing ‘Fluorescent Signals’ were the reactions of the viewer. Some called me a sadist and others, funnily enough, called me a tree hugger and said that I should not imply that plants have consciousness or feelings – even though I deliberately avoid those words.

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And finally, one of the images was selected in our ‘Open Call’, and the judge’s comments referred to the idea of the fragile relationship between man and nature – “how our actions as humans can damage our environment in ways that are often invisible” and the subtle irony in how “that damage manifests itself in something so beautiful”. Was this a theme – or message – you had in mind when creating Fluorescent Signals, or is it coincidental?

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The fragile relationship between man and nature was on my mind. As I mentioned earlier, what I was going to see when creating these images was a mystery to me as well. Many of the visual elements were also decided by the technical process. However, the aesthetic, painterly quality and framing of the images was something that I was looking for at the same time. I find the reference to painterly still lives – in which plants have long been perceived as inanimate, static and decorative objects – an interesting contradiction to the content of the images.

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Life Framer – Beyond the Visible Spectrum