Saskia Noor van Imhoff, Saskia Noor van Imhoff i.c.w. Arnout Meijer, Marijn van Kreij

From left to right:
Saskia Noor van Imhoff 
In the work of Saskia Noor van Imhoff, winner of the 2017 ABN AMRO Art Award, the process of arranging, exhibiting and archiving art and everyday objects plays a key role. Due to the associative links that she makes among these objects, her spatial installations often have various levels of meaning. For the diptych #+28.05.02 she used the sounds that could be heard throughout the entire process of creating the installation. She recorded conversations and production-related sounds, had them analyzed and transposed these invisible sounds into an image.

Title: #+28.05.02
Date: 2017
Material and technique: C-print on aluminium, edition 2/2
Size: 59, 4 x 42 cm

Saskia Noor van Imhoff i.c.w. Arnout Meijer
For Second Spade, a work purchased by the bank in the context of the 2017 ABN AMRO Art Award*, Saskia Noor van Imhoff collaborated with the designer Arnout Meijer. This work came about as a result of the question as to how an object ultimately acquires the value of an artefact. The point of departure was an existing tin plate. Stored in a perspex box are all sorts of things such as a can and an odd-looking round disc. The disk resembles a fossile, but proves to be the plaster mold of a tin plate. The depiction of an elephant on it is vaguely present. What is actually the original, Van Imhoff and Meijer ask themselves. Is the tin plate or in fact the mold the source of all plates to come?
Title: Second Spade 04
Date: 2016
Material and technique: bronze, stone, wood, tin, perspex and plaster 
Size: 160 x 50 x 10 cm

Marijn van Kreij
"Ultimately I hope that issues related to ownership become insignificant. Anything comes from the world in which we live, whether it happens to be an existing image or an image in my mind." The statement is typical of Marijn van Kreij, winner of the 2016 ABN AMRO Art Award, who explores themes such as authenticity, originality and artistic appropriation in his work. For this work from the series Picasso grids, he selected a detail from a work by Picasso which is not immediately recognizable as such. By endlessly repeating this into an overall pattern, he evokes questions about the uniqueness of the artist's handwriting and about the very act of copying.
Title: Untitled (Picasso, The Artist and his Model, 1964)
Date: 2013 
Material and technique: gouache and pencil on paper
Size: 195 x 152 cm