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The Hirshhorn creates a lot of buzz with new “Black Box” film

“Black Box: Jeroen Eisinga”

The Black Box theater on the lower level of the Hirshhorn Museum and Sculpture Garden showcases rotating exhibitions of contemporary artists who use film or video as their creative medium. Films or videos run continuously.

Known for his short films, video installations and photographs, Jeroen Eisinga (Dutch, b. Delft, 1966; lives and works in The Hague) combines the conventions of centuries-old portraiture and cutting-edge performance art in the harrowing video “Springtime” (2009–2011).

Shot on 35 mm film and digitally reformatted, “Springtime” is a fixed view of the artist as he is slowly enveloped by a quarter of a million bees. This dangerous performance is initially hard to watch, particularly as the insects alight on Eisinga’s face and gather around his eyes. Over the course of nearly 20 minutes, the artist’s icon-like gaze is obscured and his form is cloaked in a living shroud. The table before him and the wall behind him also become covered by this swarm.

Still image from "Springtime" (2009-2011) by Jeoren Eisinga

Eisinga’s action is opposite in intention to sensationalistic “bee bearding,” a competitive stunt popular at carnival sideshows and agricultural expositions. “What is riveting is the shift viewers experience from horror to empathy to identification,” said Hirshhorn associate curator Kelly Gordon. “Eisinga’s imagery draws on the legacy of saints and martyrs who were driven to extreme acts to prove their faith through endurance. In Gothic and Northern Renaissance painting, many are depicted as exemplars, demonstrating their devotion through self-sacrifice.”

The artist directed the work, but not from behind the camera, as it was important to him to undertake the performance himself. Planning and preparation took two years, including coaching from bee handlers. In addition to raising support to complete the project and mastering its technical dimensions, Eisinga had to cultivate the mental and physical discipline required for maintaining one’s composure when engulfed by the potentially threatening insects. He had neither resources nor opportunity to do run-throughs, double back or stage retakes. “Springtime” documents a singular, haunting performance.

Related Programs
On Thursday, Oct. 11, at 7 p.m., Eisinga will discuss his work as part of the museum’s Meet the Artist series; check the museum’s website for the latest information.