put some nice qoutes here NoëlBas Koopmans - graphic designer
2013, video, 2’58”
With special thanks to
Drum- en Showfanfare ‘Actief’
Photographs in custom made
frames that fit in corners.
2014, trailer, 37”
Trailer for my 15 minute
short film ‘The Hornhunter’.
Study of bending
people and objects.
2012, book, 24 p.
A book on the series
‘Leaning or Bending’,
with a screen print
by Sarai de Haan.
Text by Stymir
2012, music video, 4’15”
Video for the Dutch band
Bronstibock. In collaboration
with Anne Huijnen
and Anna de Jong.
Portraits of amateur
nude models, posing
in my bedroom.
2011, video, 6’38”
Portrait of my car ‘Henk’.
A visual investigation
of my childhood memories.
Noël Loozen, born 15-03-1983 in Geleen, The Netherlands
Currently working and living in Amsterdam, The Netherlands.
Dutch Film and Television Academy (NFTA), Amsterdam The Netherlands
BFA Photography/Fine Arts
Gerrit Rietveld Academie, Amsterdam, The Netherlands
Viviane Sassen ( assistant photographer )
Co-founder - Creative director at Weekender, Amsterdam
mail [at] noelloozen [ dot ] com
News on facebook
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Unseen x Weekender, Amsterdam
Kominek gallery, Berlin
We Like Art, Amserdam
Felix and Foam, Amsterdam. Collaboration project with Jaap Scheeren, Simon Wald Lasowski and Otto Kaan.
Dutch Filmfestival, Utrecht
Eye Film museum, Amsterdam
Vriend van Bavink, Amsterdam
Kallenbach Gallery X Gup, Amsterdam
Rotterdam VHS Festival, Amsterdam
We Like Art Wall with Polly’s Picture Show, Amsterdam
De Fotohal, Amsterdam
hard//hoofd, Entrée, Concertgebou, Amsterdam
100% Halal X Weekender, Amsterdam
The little Museum x Weekender, London. Collaboration with Anne Huijnen.
PLAZA PLAZA Art Museum, London
Slideluckpotshow Curated by Erik Kessels, Amsterdam
EYE Film museum, Amsterdam
Kunst tour, Maastricht
2011 – 2009
Teenage magazine, Foam, Amsterdam
Viktor Wynd Fine Art, London
Kunstroute, museum De Lakenhal, Leiden
Studio Engel, Amsterdam
Verbond van Verzekeraars, The Hague
Dutch Photography Museum, Rotterdam
Graduation Gerrit Rietveld Academie, Amsterdam
Mediamatic Rembrandt Screen, Amsterdam
Super Nova Gallery, Riga, Latvia
100% Hallo Book
published by 100% Halal
Ps het Parool
The Plantation Journal
BOOK DU JOUR
Leaning or bending
NEW Dutch Photography Talent 2013
Ps het Parool
Slidepotluckshow Amsterdam Publication
Curated by Erik Kessels
Review on Rasplatz
Noël Loozen – Fetisjist
Interview by Nils Adriaanse
Creatie // guest editor:100%Halal
NRC Handelsblad weekend edition
3/4 Magazine (Slovakia)
Noël Loozen – Ženy, Autá a Chlapčenské Hry
Ne te promène donc pas toute nue! Paper Edition is an annual magazine dedicated to nude contemporary photography
Il est Gris – Poster
Off Print Paris – Kominek Gallery Berlin – Artpocalypse Collective Amsterdam
polly”s picture show Amsterdam -Deichtorhallen Hamburg: Fotobuchhandlung Hamburg, Germany
Curated by Emeric Glayse
Foam magazine WHAT’S NEXT?! by Erik Kessels
Vice Magazine blog
Interview about “I AM NOËL LOOZEN AND I AM SEARCHING FOR NAKED GIRLS TO PHOTGRAPH IN MY BEDROOM. PLEASE LEAVE A MESSAGE”
“It’s never too late to have a happy childhood”
“It’s never too late to have a happy childhood”
PF photography magazine / #Dutch Photography Price Issue
About the research towards Noël Loozen's first short film The Hornhunter
“I was trained and educated as a photographer and I have the ambition to explore the realm of film. As a photographer, I was used to finding things out while creating images at the same time. Most often, I did so by myself or in direct collaboration with people in front of the lens. In my films before my arrival at the master’s programme I used the same approach: create a concept and throw myself in a situation with a camera in order to see what happens. I found out that I’d like to get more out of filmmaking. And that film radically questions my way of working.
One of the most intriguing differences between film and photography is sound. Sound is obviously absent in photography. The phenomenon confronted me with many questions. It basically triggered my investigations of time, memory and storytelling. I am fascinated by stories about the pursuit of memories and idealised experiences. People store things in their memory. These are ‘true stories’ but after a while, those memories will live a life of their own. People ‘colour’ their remembrance in their own story. Since filmmaking is teamwork, I am obliged to communicate very clearly and explicitly about what I want to do. Over the last year, I found that a story is an excellent way to communicate explicitly with a cast and crew. In a way, it’s indispensable.
My images are often quite light and colourful, lightly comic and sometimes a bit clumsy. My initial research question was: how can I translate photographic concepts into film without losing things? I started out with exploring and investigating sound. I took trumpet lessons, I did some modest scientific experiments, I investigated the behaviour of a brass band that had to overcome a horse obstacle course while playing, and I made a visual study of sound. All this will be shown in an installation in June. Another early project was the photo series ‘Leaning or Bending’. Initially an effort to grasp time, almost like in a still life, I decided to collect the pictures in a book. If not a story, browsing the pages would constitute a sequence in the course of time. It would create a beginning, a middle and an end.
Doing the master’s programme has been a roller coaster to me. When I started thinking about my graduation project, I decided to focus on the investigation of sound and its connection to time. I knew that the overcoming of obstacles and the pursuit of an idealised experience would drive the story. I made a plan for two installations. One would consist of footage I had shot during the first year: a brass band, walking an obstacle track for horse races while playing music. For the other installation, I planned to edit a loop of footage of a highly peculiar phenomenon in the US and France: men who attach huge horns to their car, drive them to lonely places, protect their ears, and then blow their horn. Afterwards, some take off their ear protectors to listen to the echoes. They put a lot of effort in producing a sound they cannot hear. It’s a sound probably no one ever hears, since they are alone when they blow their horn. I was fascinated by these men. Their sounds made me think of birdcalls, addressed to females by male birds that are longing for love. I was hoping for footage of men listening to the echoes of their horn blowing and I intended to create a playful narrative in sound, which could give the impression that the men were communicating through their honking horns.
These men exchange their experiences through YouTube. I got in touch with a guy using the Youtube name The Hornhunter. My fascination kept growing stronger. The logical next step was the decision to build a horn myself. At some point in time, it became clear that making installations wouldn’t be the right thing to do. I should go a step further. I decided to make a film and create a story around my fascination for this particular sound. I continued my investigations, gradually entering the world of horn collectors. I subscribed to their magazines and I became an active forum visitor. When The Hornhunter no longer responded to my messages, I invented the story.
The film relates the adventures of a guy who sets out to meet The Hornhunter after a series of e-mail correspondences. During his voyage he tries to build his own horn, fascinated as he is by the sound of male birdcalls.”