Edward Clydesdale Thomson Bio
wild care tame neglect Frankendael Foundation, Amsterdam, The Netherlands current
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: A Play in the Forest O&O funding, CBK, Rotterdam current
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
This is how it must feel to be there
'Showcased'; single image large format slide projection; on rear projection screen; 3m by 4m; 2007
This is how it must feel to be there
Documentation; 'Showcased'; single image large format slide projection; on rear projection screen; 3m by 4m; 2007

'Showcase' is a photo work consisting of a single 4 by 5 inch slide projected continuously on a large rear-projection screen using a Pani large-format slide projector. A projector usually used in theatre productions to project images or drawings as backdrops.

Leading up to making this work I visited Rotterdam zoo daily over the course of two months, deliberately without a camera. I focused my attention of the differing ‘modes of vision’ staged by the enclosures and the differing behaviours of the viewer this engendered. Of particular note was the leopard den of which “Showcased” is an image. The leopard den created a particularly cinematographic form of vision where you looked through a large ‘wide screed’ glass window into the diorama like enclosure. This setting created, by isolating vision from the other bodily senses, and by allowing the position of an overview, a sense of empowerment in the viewer. You possess the ‘Olympian eye’, however this is an illusion, a construction. Moreover this was one of the most manipulated enclosures and the guests could sense this and would beat on the glass, tearing at the screen of reality. Smeared with fingerprints, the illusion was at the edge of cracking. On the final day of my visits to the zoo I returned with my camera and attempted to take a single image that did not represent the observations I had made but rather mirrored how I felt the enclosure functioned.

With this work I was curious about how our senses are often subject to complex forms of visual manipulations, which in turn are instrumental in determining hierarchical power relations. I was also interested in the possibilities of using a single image to evoke a complex narrative in an experiential rather than a representational manner.

This is how it must feel to be there was curated by Tracey Warr and was a Piet Zwart Institute show.

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