Edward Clydesdale Thomson Bio
CALM BEFORE THE STORM Radius, Delft, The Netherlands 2022
Where Shall We Plant the Placenta? A Tail of a Tub, Rotterdam, The Netherlands 2022
spellbound CBK Zeeland, Middelburg, The Netherlands 2022
rivier, boot, stad Dordrecht’s Museum, Dordrecht, The Netherlands ongoing
bound to the miraculous online ongoing
Grazer Kunstverein is moving Grazer Kunstverein, Graz, Austria ongoing
Microplastics Rain Down from the Sky Division of Labour, Art Rotterdam, The Netherlands 2020
Buffer zones Paradise Works, Manchester, UK 2019
landfall O&O funding, CBK, Rotterdam 2019
An exhibition of posters Witte de With, Rotterdam, The Netherlands 2018
wild care tame neglect - exhibition Frankendael Foundation, Amsterdam, The Netherlands 2018
below the soil, between the branches, above the clouds Into Nature, biennial, Drenthe 2018
how to kill a tree Frankendael Foundation, Amsterdam 2018
Tuin van Toorop Jan Tooropstraat, Amsterdam 2018
noon Irish Museum of Modern Art, Dublin, Ireland 2017
the necessity of art Grazer Kunstverein, Graz, Austria 2017
wilder beings command Irish Museum of Modern Art, Dublin, Ireland 2017
wild care tame neglect Frankendael Foundation, Amsterdam, The Netherlands 2016
poster club Het Wilde Weten, Rotterdam, The Netherlands 2017
The Society Machine Malmo Konstmuseum, Malmo 2016
Static Gravity Het Wilde Weten, Rotterdam 2016
Crossing Borders Expanding Frontiers ramfoundation, Rotterdam, The Netherlands 2016
As the lake said to the boat Kunsthuis SYB, Beetsterzwaag, The Netherlands 2015
Nothin Shakin but the Leaves on the Trees Marabouparken konsthall, Sunsbyberg, Sweden 2015
Crooked Rain, Crooked Rain CCA Derry~Londonderry, Lismore Castle Arts St Carthage Hall 2015
Belief and Productivity O&O funding, CBK, Rotterdam 2014
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Belief and Productivity: A Play in the Forest “Since trees grow with year rings we can date events that took place 500 years ago or 800 years ago. If we find a tree with a Sámi bark peeling we know that at this place, not generally or somewhere in the forest, at this place one person took inner bark from one tree in 1663. And we not only know that but we know how much because the culturally modified tree is a negative of an action, we know how much they took out of the tree and we can calculate their impact on the forest. […] So that is a very important thing; that we really can be very precise otherwise we might read in a book that Sami’s ate inner bark of pine, but how much, and when, was it common, we have no idea it’s just a note in a text and the Sami’s didn’t have any written language until very recently.” From October 2013 until March 2014 I was on residency at iaspis Stockholm, granted through the Mondriaan Fonds. Over the course of this residency I encountered many people who work in connection with the Swedish forests. The more I learnt about the history of forest use in Sweden the more I realized this history was deeply intertwined with the very systems of belief that formed a sense of moral responsibility. If its possible to read the past through the negative of an action, an interesting way of reading history is implied. A history not about generalizing narratives but about specific actions at specific places, by specific people. These bark inscriptions continue to live with the tree and influence its growth. The line continuing to function long after it’s original purpose was fulfilled. Interpreting land and landscape, through inscriptions that continuously act upon it, implies moving away from a historiographical understanding of place, towards history as a material presence. According to many people I talked to in Sweden the forest ‘has an almost religious position in peoples lives, if you want to be alone with something larger than yourself and the world around you, you go to the forest’. Equally as a forest owner one might experience a sense of ‘moral obligation to keep your forest at maximum productivity’. The way in which a forest symbolizes much more than the sum of the animals and plants that live in it speaks of an anthropomorphic projection of human values onto land that, in many ways, defines how we see the world around us. The narrative of forestry use in Sweden can be read in spiritual, economic and moral terms that define the complex politics of our relation to land use. Notions of identity and the modernistic ideals of productivity produce a responsibility for ‘nature’ that pairs morality and capitalist ideals. Value systems themselves are inscribed in the landscape and to understand these systems it’s interesting to look at these bark peelings because they are at a scale easily grasped. From bark peeling, to the plough, the clear-cut forest and the drained polder; inscriptions continue to produce the values system they are a product of.

This project is supported by the O&O funding from the CBK Rotterdam

The Non Urban Garden: tuinen van de 21e eeuw Afdh & Kunstvereniging Diepenheim 2014
iaspis Open House, spring 2014 iaspis, Stockholm 2014
The Distracted Gardener & The Plumbing Subverter Yeo Workshop, Singapore 2013
Late Nights & Early Mornings Kunstraum, London 2013
25 Years Rotterdam City Collection Museum Boijmans van Beuningen, Rotterdam 2013
here is always somewhere else Forum Triangulare, Oud-Rekem, Belgium 2013
Abilities Jeanine Hofland Contemporary Art, Amsterdam 2013
Lost & Found at the Flügelbus Lost & Found, Amsterdam 2013
causa finalis Galerie Fons Welters, Amsterdam 2012
As if an entrance is over there- Lecturis, Eindhoven 2012
Rijksakademie Open 2012 Rijksakademie van beeldende kunsten, Amsterdamm 2012
The research and destroy department of the Black Mountain College W139, Amsterdam 2012
We are rolling galerie-j, Geneva 2012
There was a Country where They were all Thieves Jeanine Hofland Contemporary Art, Amsterdam 2012
Secret Gardens TENT, Rotterda, 2012
FlowerCASTLE Kasteel Keukenhof Art Foundation, Lisse 2011
Rijksakademie Open 2011 Rijksakademie van beeldende kunsten, Amsterdam 2011
a green thought, in a green shade Art Amsterdam MK Gallery 2011
Prix de Rome 2011 Smart project space, Amsterdam 2011
Borderline Picturesque & the Recounting Prospect Tromsø Kunstforening, Tromsø, Norway 2010
New Graffiti, Old Revolutions MK gallery, Rotterdam 2010
A group show Croxhapox, Ghent 2010
Done to a dead end & the dead or alive sale SD&G, Rotterdam 2010
Edward Clydesdale Thomson SECONDroom, Brussels 2009
A Leopard, Some Monkeys, Numerous Butterflies, Dozens of Peacocks and a Sublime Vista 4th Issue NOWISWERE, Contemporary Art Magazine, London 2009
Open Office for Words ADA, Rotterdam 2009
Imaginary Cinema - Discussion WDW 653, Rotterdam 2009
Residency at Het Wilde Weten, Rotterdam WDW 653, Rotterdam 2009
Impromptu Affairs DEK 22, Rotterdam 2009
Selbstzweck Private Collection 2008
Residency at Kysten Tromsø Kysten Tromsø 2008
Small Talk with the Janitor Piet Zwart Institute, Rotterdam 2008
My Travels with Barry, MA Graduation Show Tent, Rotterdamt 2008
Just what is it that makes that thing so different, so appealing? Expodium, Utrecht 2008
Observing Construction NEST, Netherlands Architectuurinstituut (NAi) Rotterdam 2007
This is how it must feel to be there Pakhuismeesteren, Rotterdam 2007