Monitor, 2025
Single-channel video loop
Found footage
Colour
Without sound
Duration: continuous

Dead Skin, 2024
Single-channel video loop
Found footage
Colour
Without sound
Duration: continuous

Joint, 2023
Single-channel video loop
Found footage
Colour
Without sound
Duration: 58 seconds

When the word ‘landscape’ acquired an extended meaning, namely from land to land&image or imageoftheland, it partly came from the fact that Dutch painters had come to capture extensively the swift changes in their surroundings. The latter was progressively manipulated to fit Christian values, which well separated and subordinated the earthly and natural from anything human (thus differently natural?), leading up to a long and violent process of taming and domestication. This process is not separated from the land reclamation nor the colonial history in which this takes place.
Joanne van Halteren gathers a somewhat emotionally detached AI-generated chintz pattern to provide a space for speculative swamp species, redecorating the modernist walls while witnessing a flickering and alienating yet nostalgic alternation of a stroking touch between domesticated species.

Text by Angeliki Tzortzakaki

Manual, 2023
Single-channel video loop
Found footage
Colour
Without sound
Duration: 52 seconds

Melk en bloed, 2023
Wallpaper
Off-set print
The motif is generated by AI
Prompt: “antique chintz depicting sphagnum moss instead of flowers”

Onland, 2023

In this thesis, I examine how landscapes are and where framed in art and the power dynamics embedded in that framing. My focus is the Eempolder, a carefully constructed Dutch landscape, which I trace through its historical and cultural evolution. I argue that the way we depict and conceptualize landscapes has real consequences—for both society and the environment—with the human gaze playing a central role.

I explore how the Dutch landscape was transformed from a swamp, once seen as hostile and uninhabitable—an “anti-landscape” rejected by Christian missionaries and foreign overlords—into controlled, cultivated land. This shift wasn’t just about reshaping the land itself—it also changed how people viewed and understood it. Dutch landscape painters played a key role in this, not just depicting the land but defining it as ‘landscape,’ reinforcing ideas of ownership and control. That way of seeing is still ingrained in how “the West” relates to the land.

To gain a different perspective, I look at artists like Abbas Kiarostami and Apichatpong Weerasethakul. I argue that their work doesn’t try to pin landscapes down or impose structure. Instead, they allow for something more fluid—an interaction with nature that welcomes uncertainty rather than trying to control it.

Pet/pat, 2022
Single-channel video loop
Found footage
Without colour
Without sound
Duration: 48 seconds

Boglog, 2021
Multi-channel video installation
Rearview projection on a ø400mm circular screen, and a 16:9 aspect ratio monitor.
Colour
Without sound
Continuous loop

Rear Window 1, 2020
Single-channel video loop
Colour
Without sound

Rearwindow 2, 2020
56.2 cm x 200 cm projection Single-channel video loop
Digital video
Colour
Without sound

Rear Window 3, 2020
Single-channel video loop
Colour
With sound

Rear Window 4, 2020
Single-channel video loop
Colour
Without sound

Rear Window 5, 2020
Single-channel video loop
Colour
Without sound

joanne van halteren, artist based in amsterdam
contact: joanne.v.halteren[at]gmail.com