The task set is to use the Window at 125 as a condensed studio, to create one piece of work from beginning to end. The intention is to reveal the artist at work, to allow our audience on the sidewalk to watch the creative process, something that is rarely accessible to the public.

In keeping with The Introducing Series’ recurrent objective of formally introducing artists, Joey Lico was asked to select an artist that she would like to champion; she chose Witte van Hulzen.

Witte van Hulzen will make a series of drawings during his time in the Window at 125. The drawings will be inspired by the fallibility and ephemerality of memory. Van Hulzen’s drawings themselves are based on images he recalls–not still objects, scenes, or people like many portraits and landscapes throughout history. They are executed with the speed of a passing remembrance””some things remain perfectly clear, while other details disappear almost entirely.

This is the first time he will use memory as the explicit subject of a body of work. During the period in the window, he will search his memory by talking about his past with visitors and friends and begin to sketch them out on paper””he will subsequently begin the rigorous process of touching ink-to-paper, locking the memory in the present.


Memory is a funny thing. When I was in the scene, I hardly paid it any mind. I never stopped to think of it as something that would make a lasting impression, certainly never imagined that eighteen years later I would recall it in such detail. [”¦] It was the age, that time of life when every sight, every feeling, every thought came back, like a boomerang, to me. And worse, I was in love. Love with complications. The scenery was the last thing on my mind.””“Haruki Murakami, Norwegian Wood

When I met Witte van Hulzen a year ago he was in residency with NYFA as part of their International Composers Exchange. I hadn’t yet realized he was a visual artist, but I was immediately consumed by his personality. The intrigue was palpable, and not satisfied, I did what any rational human being would do””I Google-stalked him. And, consequently, found his drawings. There aren’t words for the moment when a work of art hits you right in the belly. His drawings, danced before me like imperfect memories and hazy dreams. A dense, artistic kind of imperfection that inspired my consciousness and rattled my insides. As someone with a background in classical dance, I am used to seeing perfect performances,  by perfect dancers, of perfect pieces, in perfect theatres””it makes me want to close my eyes and die. But looking at Witte’s drawings, I can feel the limits of what people are capable of – that a certain type of perfection can only be realized through a boundless accumulation of the imperfect. And personally I find that encouraging.”

-Joey Lico
August 2013

Amsterdam-based artist Witte van Hulzen (1984) received his BA in Fine Arts at The ArtEZ Institute of the Arts in Arnhem, The Netherlands. He has been collaborating with his cousin Sander Breure (1985) on video work, performances and photography since 2006. The cousins grew up together in The Netherlands, but have since traveled the world creating works in Uganda, Turkey, Norway, and the United States. In 2009 their video installation You’ll Never Walk Alone was awarded a TENT Academy Award. Their work has been shown for the past two years at the International Filmfestival Rotterdam and has been exhibited around the world in institutions such as: Depo Istanbul, Museum of Modern Art Arnhem, ARCO Madrid, and gallery tegenboschvanvreden in Amsterdam. Breure and van Hulzen have received continued support from the Mondriaan Foundation and in 2012 were awarded a residency with the New York Foundation of the Arts (NYFA). They have recently been commissioned to created a performance by the Stedelijk Museum in Amsterdam for their Spring 2014 season. This is van Hulzen’s first solo drawing exhibition in New York.

Joey Lico is an art and philanthropy consultant working in New York City and Berlin. She began her career at Phaidon Press as an Assistant Editor of the acclaimed Contemporary Artists Series and currently works with the New York Foundation for the Arts (NYFA). She had previously worked at Parsons Dance Foundation after being on staff at The Juilliard School for two years. Joey is the publisher of Pro Diligo, an online culture magazine, and is a freelance writer and has written for several publications including: ArtForum, The Brooklyn Rail, and N+1. Having graduated summa cum laude from Fordham University with a BA in Contemporary Philosophy, she is currently pursuing an MA at NYU’s Gallatin School studying the Culture and Economy of Contemporary Visual Art. Her thesis work is on how philanthropy influences the contemporary video art market. She is part of American Ballet Theatre’s Junior Council, the MoMA Junior Associates, NYFA’s Young Patrons Circle, and the Whitney Contemporaries.

Season 3, No. 5

Introduced by Joey

September 23-October 7
Final work on show through October 14

Address: The Window at 125
125 East 47th street
New York NY 10017

More about The Introducing Series:

For further information contact Danika Druttman
ph. 212.339.2092

Image courtesy of the artist: Dag & Nacht (Day & Night), ink and watercolor on paper, 42 x 29.7 cm, 2010 (Image courtesy of the artist)





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