Curriculum Vitae, Resume

 Marieke Bolhuis (1962)

phone +31 610641569


1980 - 1981

- Rijksacademie voor Beeldende Kunst, National Visual Art academy, Amsterdam,NLl

1982 - 1984

- A.K.I.,Academy for Art and Industry Enschede, NL

Selected solo exhibitions:


-installation 'Pebbles on the beach', artist space W139, Amsterdam, cat.NL


- installation 'The garden of Atlantis', oud- Amelisweerd,Bunnik NL


- installation 'Tree x three', ABN-AMRO bank, Amsterdam, NL


- gallery 'de Expeditie', Amsterdam, NL


- installation ,stedelijk museum, Zwolle, NL


- installation 'Shopping bag horses', Oerol festival, Terschelling, NL


- Art Book, exhibition and publication with poet L. wolf, Amsterdam, NL


- installation 'On pearls and sea foam', Oerol festival, Terschelling NL


- 'Solo prints and objects', gallery AdK, Amsterdam NL


- 'Solo prints', Hirado, Nagasaki , Japan


- 'Installation' "The Expedition", At 'Glasrijk', Tubbergen NL


- Matsuo Megumi+VOICE gallery, Kyoto, Japan

Selected group exhibitions:


- Royal grant exhibition,  Amsterdam, NL


- Stipendiums 1984, Den Haag, cat., NL


- 'Man Ray passed twice', super-8 film, W139, Amsterdam, cat. NL


- 'Auto Design', Kunsthal, Rotterdam, NL


- installation' Parachute for a drop-out', Atelier Memoire, Paris, France


- 'Prominent choose, Museum Kruithuis, Den Bosch NL


- installation for a hotel room,  Pulitzer Gallery, Amsterdam , NL


-'The Dutch connection', Marshall Arts, Memphis, Tennessee, USA


- gallery Metis, Amsterdam, NL


- installation on the beach ' Ho horse, sleep well',  Oerol, Terschelling, NL


- 'Sold', exhibition and auction at Christies, Amsterdam, cat.NL


-'Vloedmerk', installation on the beach, Heemskerk, cat NL


- 'Kunstvlaai', c-prints, Amsterdam NL


- Los Angels Center for Digital Art, L.A., USA


- New Prints, International Print Center New York, NY 


- Cumulus, guest curator for artist space NP40, Amsterdam NL


- Anchor graphics and [c]space at Columbia college Chicago, USA


- fair Art Rotterdam,NL at Frederieke Taylor gallery based New York


- fair Art Amsterdam, NL at PARC-Editions, NL
- Peace Museum, Nagasaki, Japan  
-Gallery Art Studio G++, Nagasaki, Japan
-'It's not easy', Exit Art, Chelsea, New York, USA
-New Prints 2008 autumn, IPCNY, New York, USA
-Night of 1000 drawing, Artists Space, New York, USA


-Arti nieuwe leden tentoonsteling, Amsterdam NL


-In de Hal 4, Loods6, gallery Wit, Amsterdam NL


- Heemtuin, Leiden NL

- Lekart, Culenborg NL

Related activities:


- Rietveld Academy Amsterdam, lecture NL


- artist space W 139, Amsterdam, chairman of the board NL


- Royal Academy, Den Haag, lecture and member of the national jury NL


- Province of Noord-Holland,  Art Council, adviser visual arts NL


- City of Amsterdam, Art council, adviser visual arts NL


- Print Center Amsterdam AGA, adviser visual arts NL


-Art workshops, Hirado , Nagasaki, Japan


-visiting professor Art School, Amsterdam NL


- jury member Zomer Expo, Haags Gem Museum, Den Haag NL

- member of the national jury Academie of BV Amsterdam NL

Selected commissions:

Foundation 'Oud- Amelisweerd', Bunnik, NL
Drukkerij 'Lindenbaum', Amsterdam, NL
Hindoestaans cultural center 'Vikaash', Amsterdam, NL
City of Hirado, Nagasaki, Japan, statue in the park

Selected bibliography:

Flora Stiemer, 'Marieke Bolhuis wraps danger in beauty, AD 5-29-1992
Thea Figee, 'Marieke Bolhuis maakt zich mooi kwaad', Utrechts Nieuwsblad, 6-6-1992
Tineke Reijnders, 'Isn't she pretty', publication, Artotheek-oost, 1992
Catherine van Houts, 'Schone schijn en grimmige lagen', het Parool, 5-4-1993
Wim van Beek, 'Kunstmatige landschappen houden de kijker gevangen', Zwolse courant, 8-10-1996
Flora Stiemer, Rebellie tegen de kringloop', AD 10-9-1997
Ine Poppe, 'The Landscape according to Marieke Bolhuis', N.R.C. handelsblad, 8-11- 2000
Angela van der Elst, de groene Amsterdammer, februari 2007
Katja Rodenburg, HUMAN, summer 2008

Selected Collectors :

Ministry of foreign affairs The Netherlands, embassy of Abu Dhabi, Dubai, Manila, Teheran, Washington and Shanghai.  
Akzo-Nobel foundation, NL
Abn-Amro collection, NL
collection of the Amersfoortse verzekeringen, Fortis, NL
UMC, Academic Medical Center, Utrecht, NL
Mercedes benz NL,
Moret & young NL,  
Rabobank NL,
TU Eindhoven NL,
City of Amsterdam NL,
Visual Art Centers [CBK] in :  Schiedam NL
Den Haag NL,
Groningen NL,
Zaanstad NL  

Interviews on television:
-          1990 Studio Rembrandt, RTL, NL
-          1991 & 1992 Opium, AVRO, NL

-          1999 Ho horse sleep well, TV Friesland, NL
-          2000 Over paarlen en zeeschuim, oerolfestival, VARA, NL 
-        2008, Nagasaki-TV, Japan


The Saatchi Gallery
De cultuur van de Nederlandse ku(n)st  
Volkskrant Noordzee


installatie 'Het verlangen moet groot zijn'


'Pebbles on the beach', W139

'Pebbles on the beach', W139
installatie veer een hotelkamer, z.t., Pulitzer hotel
,Room for space', plafondschildering "Ixion"


Marieke Bolhuis was born in 1962 in Hilversum, the Netherlands, Europe. She graduated from the school of Art and Industrial Design in Enschede, the Netherlands in 1984 and studied at the Rijksacademie Amsterdam. Participate in a numerous solo and group shows since 1984
In 1990 she made her first installation for Artist Space W139 in Amsterdam
In the following years many different installations where purposely built for specific sites in The Netherlands, France, and Memphis Tennessee. From these installations only the sketches and photos remain.
In 2003 she was invited by Amsterdam Print Center to use a large digital Epson printer. She started to photograph landscapes with meaning. 
In 2005 she traveled to Iran [for Mesopotamia] in 2006 to Iceland, Japan,Tenerifeand in 2007 to Lanzarote and in 2008 to Jordan, Japan and Cappadocia in Turkey for the series about the earths crust.
In her studio she made small objects, using earth related material like glass clay cement, and placed them into the photos to point out the underlying meaning, drawing special attention to this by placing a landmark made of a mixture of different soil types.
The final work are giclee prints printed by Bernard Ruijgrok Piezografie Amsterdam on German etching paper, a matt fine art paper.
Marieke Bolhuis has received numerous scholarships from the city of Amsterdam and the Dutch Government. 
She was the recipient of a visiting artist Fellowship from Hirado, Nagasaki, Japan.
A member of the Advisory council of the Amsterdam Print Center [AGA].
She has served as a visiting professor at three different Dutch Art Schools.
Her work is included in many private and corporate collections as well including the ministry of foreign affairs in the Netherlands, the Dutch Embassies in Teheran, Washington and Shanghai.


Bottles Have to Sink

NRC Handelsblad, 11 augustus 2000

'My attraction to the outdoors is enormous.’ That Marieke Bolhuis makes works of art that are subsequently consumed by nature is something she takes for granted.

By Ine Poppe

Marieke Bolhuis (b.1962) is wearing jodhpurs and riding boots, her long hair blown by the wind. On the island of Terschelling, she had a horse – and a grandfather. She proudly relates that only a couple of years ago, her grandfather drove a car all the way to Amsterdam to visit her. She took him for a trip in a canal boat, where he would get a senior citizen discount. The islander looked so young that he had to show his license. ‘They would not believe that he was in his late ‘80s.’ Since she was small, Marieke Bolhuis has spent all her summer holidays on Terschelling, with her grandparents. She loves working at the edge of the sea, there where the sand dances in the wind before the tide and the sea digs backbones, spinal chords into the beach.

White ghosts peek out and duck back under the foam. Bolhuis has anchored three white figures in the surf. They are standing on white spheres, in a row, one behind the other. Their size and the distance between the sculptures are impossible to guess. ‘The biggest one first, the smallest one at the end. That way the sea looks even more endless,’ says Bolhuis. The work is entitled, ‘On Pearls and Sea Foam’.


‘I love the city and would not want to live anywhere else, but my attraction to the outdoors is enormous,’ says Bolhuis. ‘My work has gradually moved outdoors. I am interested in what we do with the landscape. Nature brings out that longing.’ She lives in Amsterdam and has since recently had a house out of town, which she uses as a studio. When we drive out there, we stop for a moment to look at her horse. The same horse that she had on Terschelling is now in a farmer’s pasture, a couple hundred yards from her studio. ‘I ride a little every day.’ In her garden, amongst the other garden allotment buildings, she shows a series of photographs of a work she completed on Terschelling a couple of years ago. It is a sleeping horse made of willow branches at the foot of the high dunes, thirty metres long, sixteen metres wide and three metres high. ‘The size of a beached whale.’ Each day, for over a month, she went to the beach with a trailer full of willow branches, collected daily from a sporting club where the trees had been trimmed. The branches were stacked up for as long as it took until the horse was there, its hooves the size of a man. The pile of branches is still there, but it has become another sand dune. The wind and sea have swirled around the horse, drifting the sand. Here and there, some twigs of wood still poke out from the sand.

Bolhuis first attended the Rijksacademie, the National Academy of Art in Amsterdam, but was dismissed with the comment that she was too young and too nervous and would perhaps be more suited to being a nurse. A year later, she enrolled at the AKI, the Academy for Art and Industry in Enschede. After graduating, she exhibited installations at locations that included the Amelisweerd estate near Utrecht and in the Warmoesstraat 137 contemporary art space in Amsterdam. In Amelisweerd, she transformed a room with an installation made by printing a forest on the wallpaper, made with the tracks of automobile, moped and bicycle tyres. In 1991, during the ‘Groentesalon’ (Vegetable Salon) exhibition organised by author Atte Jongstra, she was given the use of the cellar, with the floor covered with water. She lay 500 bottles in the water, filled with paint that reacts to blacklight. In the photographs that remain of the project, you see blue-green, electrified circles bouncing off the water. She called the fluorescent landscape 'The Garden of Atlantis'.

Bolhuis talks about her youth in the Gooi region, a half hour east of Amsterdam. She was the daughter of a father who earned his living on seafaring cargo ships. When she drank a bottle of soda, she was never allowed to put the cap back on the bottle, because bottles were thrown overboard and had to be able to sink. At school, she was taught about comparing weights, and that gave her the idea that there must be a layer of the sea where all the bottles of the world must be floating together, a field of glass.

One of the installations she completed for the Warmoesstraat was a kind of interior garden or courtyard, entitled, ‘The Yearning Must be Great’. She made dozens of flowers out of cement, filled with paraffin, each as large as a turban. The garden was made of straight lines painted on the floor, the burning flowers at the intersections, like a mosaic. There were three towers placed in the middle of the pathways.


Much of Marieke Bolhuis’s work is perishable. It is part of the landscape. What remains are the photographs, the sketches and drawings. At the moment, she is exhibiting work at the top of the North-Holland peninsula. The villages of Oudesluis and St. Maartensbrug are connected by the Grote Sloot, a road that runs for eight kilometres alongside a wide ‘sloot’, or channel of water. This year, five artists were invited to exhibit work here. Bolhuis selected three meadows, and made ‘drawings’ in the grass. They are anamorphoses, or perspective drawings that can only make sense when seen from a single vantage point.

When Bolhuis first saw the pastures, the farmer told her that his calves and sheep would continue to graze in the meadow, and that her work would have to be protected with electrified twine. Bolhuis used the poles that support the electrified twine, that in turn looks like heavy white thread, to create a ‘drawing’ of an enormous cow in the grass. Because the calves eat away the grass outside the twine, the Bolhuis cow grows a healthy thick coat of green fur. Bolhuis painted a red spot on the road, at the place where you can best see the drawing. When you look at it from the side, it looks more like one of the ‘wadden’, or sandbank islands, like Terschelling, a stretched-out form of white lines. In another of the meadows, where the sheep are grazing, Bolhuis used the electrified twine to construct a sheep inside a cloud. Her third work is a chicken, many yards tall, made of the electrified twine and chicken wire. White chickens range inside. When the installation is removed, the cow will still be visible for a time, a relief in the grass. Like Bolhuis’s other projects, the cow will then slowly sink away into its surroundings. Or it will be around forever, like the air we breathe.

Grote Sloot, Beeldroute 2000, installations in the Zijper Landscape