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Marcel van Eeden, Untitled #9, The Hotel, 2012, pencil on paper, 7 x 11". From the series “The Hotel,” 2012–.

Marcel van Eeden

Galerie In Situ/Fabienne LeClerc

Marcel van Eeden, Untitled #9, The Hotel, 2012, pencil on paper, 7 x 11". From the series “The Hotel,” 2012–.

Since 1993, Marcel van Eeden has adopted a daily practice of making pencil-and-charcoal drawings, black and white with the occasional introduction of color. The accumulation of drawings marks the passage of his existence, yet the works do not depict moments in his own life. Instead, the images derive from all sorts of photos, ads, film stills, and so on, without indication of provenance, like a visual archive for which the documentation has been lost, or like a calendar that indicates the day of who knows what year. This is not just any past, but rather one technologically filtered by the eye of the camera and dating entirely from before 1965, the year of van Eeden’s birth. The only other certainty is that what is exhibited, whether photographed or filmed, actually took place.

Van Eeden’s drawings represent microevents of which he had no direct experience and to which he cannot

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