open Fri–Sun, 12–24h
Art is our first language. Throughout the year, Het HEM presents a range of temporary art programmes as well as more permanent art installations.
Simon(e) van Saarloos
“We must bring about the end of the world as we know it.”
There is always music to listen to at Het HEM, with programmes focused on experimental ways to create, present and experience music in the building through listening sessions, live shows, and musical artis-in-residence initiatives.
Come by for a drink and a bite, wine and dine at our restaurant, or settle down on our sunny terrace on the Costa del Zaano.
Het HEM loves books. During your visit, come lose yourself in the library's rich selection or discover new favourites in the SANZ Shop.
Situated in a former munitions factory, Het HEM is a new home for contemporary culture.
The building's industrial design and our experimental art programme bring ambience and meaning to every event.
Close Range is Het HEM’s residency that gives musicians and music researchers the opportunity to explore the depth of their practice through experimentation and interdisciplinary collaboration.
For the first edition, sound artists Thessa Torsing (aka upsammy), Nathan Marcus and Andreas Tegnander are collaborating on the project, “Sound as a Malleable Terrain” - an experimental artistic research project where the team explore ‘Het Hembrugterrein’ as an instrument.
Through research into the temporal patterns of the area and experiments with the materiality and sonic qualities of the terrain different ways of creating a living sonic terrain came into being. Inspired by Henri Levebre and his theory of ‘rhythm-analysis’ the group took walks into the depths of ‘Het Hembrugterrein’ and performed listening exercises. The artists synced and conversated with the space. Tuning-in their ears to the brushing of grass against a metal pipe, stones crumbling down a hill or a massive pile driver stomping its way through layers of soil. What is the sound of an environment being sculpted?
For archiving and naming the different types of rhythms the group used self-coined term RDM’s : Rhythm Distillation Methods. These methods are ways to extract rhythm from a certain place and/or time. Some of these methods are digital, others are analogue. In their research and composition both of these worlds are interacting and associating with one another. For example: compressing and stretching fieldrecordings to find hidden rhythms beyond common human temporality.
The RDM’s are used as the building blocks to create a new terrain where the visitors are invited to become sonic seismologists, to explore the rhythms and vibrations of the terrain. In the composition you hear the morphing of the terrain, traversing through time, both through human induced vibrations and the natural sculpting of the landscape: a constant motion of destruction and rebuilding. What would it sound like if you could record the crumbling of a building over time, or an ammunition factory turning into a creative hub? Seemingly still materials become actors, mimicking the birds who are orchestrated by the endless pounding of pile drivers.
A detailed diary of the research can be found here